nntsuzu/KFTT huggingface dataset:
English: Then, samurai who bound Jihe's wrists to a lattice came between them, protected Jihe and made Tahee go away.
Japanese: すると治兵衛を格子に括った侍が今度は間に入って治兵衛を庇い、太兵衛を追い払った。
English: He lost patience with Jihe who was in love with Koharu as madly as posing a problem for business, and came and saw Koharu in order to stop Jihe from visiting Sonezaki
Japanese: 商売にまで支障を来たすほど小春に入れ揚げている治兵衛に堪忍袋の緒が切れ、曽根崎通いをやめさせようと小春に会いに来たのだった。
English: Jihe who found out about this story got mad, decided to definitely break up with Koharu, and took back the written vows from Koharu.
Japanese: 話を知った治兵衛は怒り、きっぱり小春と別れる事を決めて小春から起請を取り戻した。
English: However, a letter from Jihe's wife, Osan, was included in them, and Magoemon who learned the truth was secretly thankful for Koharu's strong sense of loyalty.
Japanese: しかしその中には治兵衛の妻・おさんの手紙も入っており、真相を悟った孫右衛門は密かに小春の義理堅さを有難く思うのだった。
English: After ten days, while Osan worked smart, Jihe failed in any way to devote himself to his work, and always laid under the kotatsu (table with heater).
Japanese: それから10日後、きびきびと働くおさんを他所に治兵衛はどうにも仕事に精が出ず、炬燵に寝転がってばかりいた。
English: At that time, Jihe's aunt and Magoemon who heard the rumor of Koharu's miuke (redeem, buy the freedom of a geisha from her employer) came to KAMIYA to question Jihe.
Japanese: その時治兵衛の叔母と孫右衛門が小春の身請けの噂を聞いて治兵衛に尋問しに紙屋へやって来た。
English: They took word of Jihe and Osan for that Jihe went nowhere for these ten days, and miuke was conducted by Jihe's romantic rival, Tahee, and after the aunt took the precaution of letting Jihe write kishomon (sworn oath) on which a crow of Kumano Gongen Deity was printed, they left for home with peace of mind.
Japanese: ここ10日治兵衛は何処にも行っていない、身請けしたのは恋敵の太兵衛だという治兵衛とおさんの言葉を信じ、叔母は治兵衛に念の為、と熊野権現の烏が刷り込まれた起請文を書かせると安心して帰っていった。
English: However, after the aunt and Magoemon left for home, Jihe crawled under the kotatsu and was dissolved in tears.
Japanese: しかし叔母と孫右衛門が帰った後、治兵衛は炬燵に潜って泣き伏してしまう。
English: However, Osan who heard from Jihe that Koharu had said 'she would definitely commit suicide if other customer did miuke for her' recommended Jihe to conduct miuke before Tahee, considering a it as a duty of hers.
Japanese: しかし、「もし他の客に落籍されるような事があればきっぱり己の命を絶つ」という小春の言葉を治兵衛から聞いたおさんは彼女との義理を考えて太兵衛に先んじた身請けを治兵衛に勧める。
English: Osan tried to procure ransom money for Koharu with 400 monme of silver for business, and money obtained by pawning clothes as many as children and she had.
Japanese: 商売用の銀四百匁と子供や自分のありったけの着物を質に入れ、小春の支度金を準備しようとするおさん。
English: Even though Jihe himself wrote the vows, Gozaemon who knew Jihe's usual irresponsibility was still skeptical of Jihe, and came to KAMIYA in dread of Osan.
Japanese: 日頃から治兵衛の責任感の無さを知っていた五左衛門は直筆の起請があっても尚治兵衛を疑い、おさんを心配して紙屋に来たのだ。
English: Gozaemon who naturally got mad as a father forced unwilling Osan to bring back home, and had her divorce Jihe using the right as a parent.
Japanese: 当然父として憤った五左衛門は無理やり嫌がるおさんを引っ張って連れ帰り、親の権利で治兵衛と離縁させた。
English: Jihe told a reason to Koharu who was suspicious of his visit because she thought he gave her up, and made a promise again to commit suicide with Koharu so as to go to a world together where they would not be bound by anything.
Japanese: 別れた筈なのにと訝しがる小春に訳を話し、もう何にも縛られぬ世界へ二人で行こうと治兵衛は再び小春と心中する事を約束した。
English: Jihe who made an arrangement with Koharu in advance crossed many bridges from the Shijimi-gawa River, and headed to Daicho-ji Temple in Amishima.
Japanese: 小春と予め示し合わせておいた治兵衛は、蜆川から多くの橋を渡って網島の大長寺に向かう。
English: Then, at around dawn on October 14, after Jihe and Koharu cut their hair to disconnect with the secular world, Jihe knifed Koharu in the throat, and hung himself to loyal to Osan, to commit love suicide.
Japanese: そして10月14日の夜明け頃、二人は俗世との縁を絶つ為に髪を切った後、治兵衛は小春の喉首を刺し、自らはおさんへの義理立てのため、首を吊って心中した。
English: In Kabuki, present-day "Kawasho" (Kamiji) and "Shigure no Kotatsu" (Jihe nai) were made based on "Shinju Kamiya Jihe" revised by Hanji CHIKAMATSU in 1778, and its further revised work of 'Tenno Amishima Shigure no Kotatsu.'
Japanese: 歌舞伎では、安永7年（1778年）に近松半二によって改作された『心中紙屋治兵衛』と、さらにその改作である「天網島時雨炬燵」をもとに、現行の『河庄』（紙治）と『時雨の炬燵』（治兵衛内）が作られた。
English: He devised a method of performing Jihe which had been performed by Enjaku JITSUKAWA the first and Sojuro NAKAMURA, and perfected own Jihe.
Japanese: 實川延若(初代)と中村宗十郎の演じた治兵衛を自分なりに工夫して作り上げたものである。
English: His appearance from Hanamichi with covering his cheeks was reputed to be splendid, and Suifu KISHIMOTO remained a famous phrase, 'Japan's best face in the covered cheeks.'
Japanese: 頬かむりをしての花道の出は絶品とされ、岸本水府は「頬かむりの中に日本一の顔」という有名な句に残している。
English: Kawasho in which essences of wagoto (the production style of a love scene) were concentrated, and which was handed down to Ganjiro NAKAMURA the second and to Tojuro SAKATA the fourth was one of the specialties (Ganjiro-junikyoku (12 Ganjiro roles)) of Narikoma-ya in Osaka.
Japanese: 和事のエッセンスが凝縮しており、中村鴈治郎(2代目)、坂田藤十郎(4代目)へと伝えられ、大阪の成駒屋のお家芸（玩辞楼十二曲）の一つとなっている。
English: The magnificent performance by Ganjiro the first in "Kawasho" attracted Kabuki lovers both in Osaka and in Tokyo.
Japanese: 『河庄』における初代鴈治郎の素晴らしさは、大阪はもちろん東京の好劇家をも魅了した。
English: The performance at the Kabuki-za Theater in 1905 was as highly-reputed and was extended by two days.
Japanese: 明治38年（1905年）歌舞伎座の上演ではあまりの評判に2日日延べをしたほどであった。
English: Shotaro HANAYAGI of a new school devised his own way so as to perform Jihe, but gave props to Ganjiro by saying, 'I get hung up with that Ganjiro's appearance from Hanamichi.'
Japanese: 新派の花柳章太郎は治兵衛を演じようと独自の工夫を考えたが、「あの花道の出だけはどうしても鴈治郎から離れられない。」と脱帽した。
English: Kikugoro ONOE the sixth who looked at Ganjiro's performance of spreading his legs in the style of aragoto (Kabuki play featuring exaggerated posture, makeup, and costume), and twisting his legs, sighed and said, 'I can't copy his legwork by the name of giba (actions of jumping up, falling on one's hips, and spreading and stretching out one's legs when being thrown or kicked).'
Japanese: また、尾上菊五郎(6代目)は、荒事風に足を割って足をにじらせる演技を見て｢あのギバの足の運びは真似できねえ。」と嘆息した。
English: Great actors played such supporting roles like Baigyoku NAKAMURA the second and Chusha ICHIKAWA the seventh for Ganjiro the first, Nizaemon KATAOKA the 13th for Ganjiro the second, and Uzaemon ICHIMURA the 17th for present-day Tojuro.
Japanese: 初代鴈治郎には中村梅玉(2代目)や市川中車(7代目)が、二代目鴈治郎には片岡仁左衛門(13代目)、現藤十郎には市村羽左衛門(17代目)など腕達者な役者がつきあった。
English: Osho is a representative female master of Hanamachi (geisha district in Kyoto) (role called kashagata (old female roles)) in Kabuki as well as Oen of 'Fuinkiri.'
Japanese: お庄は「封印切」のおえんとともに歌舞伎の代表的な花街の女将（花車方という役柄）である。
English: In these years, Gado KATAOKA the 13th (Nizaemon KATAOKA the 14th) excelled at this role.
Japanese: 近年では片岡我童(13代目)（十四代目片岡仁左衛門）が得意としていた。
English: He used Kichiemon NAKAMURA the second on Jihe, and used Shima IWASHITA on two roles of Koharu and Osan.
Japanese: 治兵衛には中村吉右衛門(2代目)、小春・おさん二役に岩下志麻を起用した。
English: This film was produced in an experimental way differently from normal theatrical films, and had a style heavily tinged with an air of ningyo joruri (traditional Japanese puppet theater) or Kabuki.
Japanese: これは、通常の劇映画と異なる実験的な演出で、人形浄瑠璃や歌舞伎の雰囲気を色濃く漂わせる作風となっている。
English: Good wife who supports her husband hand and foot while feeling lousy for Jihe who has an affair with Koharu
Japanese: 小春との浮名を流す治兵衛を情けなく思いながらも甲斐甲斐しく夫を支える良き妻。
English: "Sugawara Denju Tenarai Kagami" (Sugawara's Secrets of Calligraphy) (classic word: 傳授) was Gidayu-bushi (musical narrative of the puppet theatre) and a program of ningyo joruri (traditional Japanese puppet theater) and Kabuki (traditional drama performed by male actors) played along with it.
Japanese: 『菅原伝授手習鑑』（すがわらでんじゅてならいかがみ、旧字体：傳授）は、義太夫節、またそれに合せて演じられる人形浄瑠璃と歌舞伎の演目。
English: The part of fourth act, "Terakoya" (temple elementary school during the Edo period) is often played in the Kabuki, and it is one of the representative act that lead in number of performances.
Japanese: 歌舞伎では四段目の一部『寺子屋』（てらこや）が独立して上演されることが特に多く、上演回数で群を抜く代表的な演目となっている。
English: This work and Gidayu Kyogen (Kabuki adaptations of puppet plays) received great popularity by showing the greatly worshipped academic god Tenjin in the form of SUGAWARA no Michizane, and having the story told from the point of view of a servant of a nobles with triplets to show the influence of political turmoil to the public, and having the theatrical like turn of events.
Japanese: 学問の神として広く崇敬を受けていた天神様の菅原道真としての姿を見せたこと、また三つ子を貴族に仕える舎人として配置し庶民にも政治の混乱が及ぶ様を描いたこと、そして劇的な展開を備えた本作は大きな評判を呼び、義太夫狂言の人気を大いに高めた。
English: It was the first work that was evaluated as three greatest Gidayu Kyogen works along with"Yoshitsune Senbonzakura" (Yoshitsune and One Thousand Cherry Trees) and "Kanadehon Chushingura" (The Treasury of Loyal Retainers).
Japanese: 後世『義経千本桜』『仮名手本忠臣蔵』と共に義太夫狂言の三大名作と評価された作品のうちの最初のもの。
English: The first performance was a great hit and left unique record at that time by having the first performances of both Ningyo joruri and kabuki both at Kamigata and Edo within a year.
Japanese: 初演は大当たりで、一年以内に上方と江戸の双方で人形浄瑠璃と歌舞伎の両方が初演されるという、当時としては驚異的な記録となった。
English: SUGAWARA no Michizane was his model (in history, '丞相' (Chancellor) was pronounced as 'Josho' but the work called it as 'Shojo').
Japanese: 菅原道真がモデル（歴史上の「丞相」は「じょうしょう」と読むが、本作では「しょうじょう」という）。
English: He was modeled after Fujiwara no Shihei (the actual '時平' was pronounced as 'Tokihira' but the work called him as 'Shihei').
Japanese: 藤原時平がモデル（実在の「時平」は「ときひら」と読むが、本作では「しへい」という）。
English: He was the disciple of Kanshojo but was expulsed for causing trouble in the past and currently manages terakoya.
Japanese: 菅丞相の弟子であったが過去に問題を起こし破門、現在は寺子屋を開いている。
English: Toshikyogen (performance of an entire play) was rare in Kabuki and was often performed alone in popular scenes.
Japanese: 歌舞伎では通し狂言は稀で、人気のある場面が単独で上演される事が多い。
English: In that case, another title besides the formal kabuki title of "Sugawara Denju Tenarai Kagami" was used.
Japanese: その際、題名も正式な歌舞伎外題である『菅原伝授手習鑑』とは別の通称が用いられる。
English: Daijo (prologue) and Ouchi Act: Kanshusai chided the tyrannical rule of Fujiwara no Shihei and Shihei grudged because of it.
Japanese: 大序・大内の場：藤原時平の横暴を菅丞相が諌め、時平はそれを逆恨みする。
English: The Act of Kanshusai: During the time when worshiping the Kamo-jinja Shrine, Sakuramaru couples proctored for the meeting between the lovers Crown Prince Tokiyo and Princess Kariya but the secret meeting was revealed.
Japanese: 加茂堤の場：賀茂神社参詣の折、恋仲の斉世親王と苅屋姫との間を桜丸夫婦が取持つが、密会が露見する。
English: He removed TAIRA no Mareyo, who had the title of Sachuben (middle controller of the left), that tried to monopolize the technique of calligraphy, and Genzo TAKEBE was given one volume that has been passed down.
Japanese: 筆法の横領を狙う左中弁平希世を退け、破門中の武部源蔵に伝授の一巻が渡される。
English: It was determined that secret meeting at Kamo shrine was thought to be the usurp of Kanshojo and his exile was decided.
Japanese: 築地の場：加茂社での密会が菅丞相による簒奪の企みとされ、流罪が決まる。
English: Sakuramaru who became poor and began to sell candies sends Crown Prince Tokiyo and Princess Kariya to Kanshojo's place.
Japanese: 飴売りに身をやつした桜丸が、斉世親王と苅屋姫を菅丞相の元へ送り届ける。
English: Yasui Shiomachi (waiting for favorable tides) Act: While the ship headed for Kyushu waited for the tide at the sea port of Yasui, Settsu Province, Kanshojo went for the Kakuju no yakata (Kakuju's residence) (later Domyo-ji Temple).
Japanese: 安井汐待の場：摂津国安井の津で九州行きの船が汐待ちしている間、菅丞相は覚寿の館（後の道明寺）へ赴く。
English: She received word from Kanshojo and believed that her wish to meet was granted but there was only a wooden statue of chancellor in the room.
Japanese: 菅丞相から声がかかり、対面がかなったと思うが、声がした部屋にあったのは丞相の木像であった。
English: Tonteko Act: The servant of Shihei schemed to assassinate Kanshojo using chicken.
Japanese: 東天紅（とうてんこう）の場：時平の配下の者が菅丞相を謀殺するための計略を、鶏を使って行おうとする。
English: Kurumabiki (Carriage pulling) Act: Umeomaru and Sakuramaru lost a master and tried to attack an ox cart of Shihei.
Japanese: 車曳（くるまびき）の場：主を失い、時平の牛車を襲おうとする梅王丸と桜丸。
English: Chasen Zake (literally, tea whisk sake) Act: The triplets and their wives gathered to celebrate their father who turned 70 years old, and changed his name to Shiratayu.
Japanese: 茶筅酒（ちゃせんざけ）の場：白太夫に名を改めた三つ子の父の70歳の祝いに、三つ子とその妻達が集まる。
English: Fighting Act: Matsuomaru working under an enemy and Umeomaru who disapproved of it began fighting.
Japanese: 喧嘩の場：敵側に就いている松王丸とそれが面白くない梅王丸が取っ組みあいとなる。
English: Mount Tenpai Act: Kanshojo spent his exile days at Chikushi, but heard the scheme of Shihei from Umeomaru, and his anger exploded.
Japanese: 天拝山の場：筑紫で配流の日々を送っていた菅丞相であったが、梅王丸から時平の陰謀を聞き、怒りが爆発。
English: Kitasaga Act: The wife of Kanshojo, who hid with Yae in Kitasaga (Kyoto City), was attacked but rescued by yamabushi (a mountain priest).
Japanese: 北嵯峨の場：北嵯峨(京都市)に八重と共に潜伏していた菅丞相の奥方が襲われるが、山伏に助けられる。
English: Entering Temple Act: A well behaving child led by his polite mother came and entered the Terakoya (that hosted Kanshusai) of Genzo in the Seryo Village, which was located on outskirts of Kyoto.
Japanese: 寺入りの場：京の外れ、芹生の里にある源蔵の寺子屋（菅秀才をかくまっている）へ、礼儀正しい母親に連れられた上品な子供が入門してくる。
English: Genzo tried to scheme with his life at risk, but the one that appeared to arrest him was Matsuomaru, who knew well of the situation.
Japanese: 捨て身で源蔵は一計を案じるが、捕縛にやってきたのは事情を知り尽くした松王丸。
English: It almost seemed as he was going to be killed, but in the last minute, he finds out that Matsuomaru also adored Kanshojo.
Japanese: 絶体絶命と思われたが、土壇場で松王丸も菅丞相を慕っていたことが判明。
English: The Ochi Tenpen (extraordinary natural phenomenon) Act: Shihei was defeated due to the power of Tenjin, and Kanshusai reestablished the Sugawara House, and Kanshojo received Shoichii (Senior First Rank).
Japanese: 大内天変の場：天神の神威により時平は破滅、菅秀才が菅原家を再興し、菅丞相には正一位が贈られる。
English: The reason why ox carts often appeared starting with the Kamo-tsutsumi Mound act was that ox was believed to be the messenger of Tenjin and connected to Tenjin Worship.
Japanese: 加茂堤の段をはじめ、牛車牛がよく登場するのは、牛は天神の使いという天神信仰に因む。
English: The episode at Kakuju no yakata was an act that contained parting Kanshojo father and son, assassination, endangered Kanshojo, and considered to be the most complex act among Gidayu Kyogen with lots of places to take note of.
Japanese: 覚寿の館での挿話は、菅丞相親子の別れ、殺人事件、そして菅丞相の危機と、いくつもの物語が詰まった密度の濃い内容で、数ある義太夫狂言でももっとも複雑かつ、みどころの多い段となっている。
English: Also, since there were various characters, kabuki required a grand scale casts, and was hard to perform since not many were fit to play the role of Kanshojo.
Japanese: また登場人物も多岐にわたるため、歌舞伎では大規模な座組み（配役）が必要となり、菅丞相の適任者が少ないこともあって上演が難しい演目である。
English: Kanshojo was a great role that required grace and dignity, and historically famous actors such as Danjuro ICHIKAWA (ninth generation), Nizaemon KATAOKA (11th generation), Utaemon NAKAMURA (fifth generation), Ganjiro NAKAMURA (first generation), and Koshiro MATSUMOTO (seventh generation) played the role.
Japanese: 菅丞相は気品と貫禄が要求される大役で、市川團十郎(9代目)、片岡仁左衛門(11代目)、中村歌右衛門(5代目)、中村鴈治郎(初代)、松本幸四郎(7代目)など歴代の名優が演じた。
English: Recently, Kanshojo of thirteen generation Nizaemon KATAOKA received the great reputation as 'superior than human work.'
Japanese: 近年では十三代目片岡仁左衛門の丞相が「神品」と最高級の絶賛を浴びた。
English: Three different characters of Umeomaru, Matsuomaru, and Sakuramaru performed according to their tachiyaku (a leading male-role actor) roles, and was a performance that condensed the ceremonial beauty of kabuki.
Japanese: 歌舞伎では梅王丸＝立役・松王丸＝立役・桜丸＝立役の三様の人物がそれぞれ役柄に合った演技を見せる場となっており、歌舞伎の様式美が凝縮された演目となっている。
English: Shihei was a ruler that schemed for the absolute rule, and had a kabuki role of being the evil kuge (noble) and appeared with the unique appearance of kugeare (wild kuge (noble) Kabuki make-up style).
Japanese: 時平は天下をねらう権力者で歌舞伎では公家悪という役柄となり公家荒れという怪異な風貌で登場する。
English: Sakuramaru at Kamigata stressed on wagoto (the production style of a love scene) and fell crying without taking off the makeup at 'Gochinchaku' (settled down), but Sakuramaru in Tokyo took off one line kumadori (kabuki make-up) and did not fall crying.
Japanese: 上方では桜丸は和事を強調し、隈をとらず、「ご沈着」では泣き落すとなっているが、東京では桜丸は一本隈を取り、泣き落しはない。
English: Kamigata had two backgrounds of Kamigata nodomi (scene painting of field) (the background of a rural districts) and the fence of a shrine, but Tokyo had only a shrine fence and did not shift a scene.
Japanese: 背景も上方は背景を野遠見（田園風景の背景）と神社の塀の二つとするが、東京は最初から神社の塀で場面転換を行わない。
English: Umeo, Matsuo, Sakuramaru each had Tsukeuchi (sound effects made with a pair of wooden sticks to exaggerate actors' emotions or movements such as running or dropping things on the ground) in Kamigata before the World War II, and a huge sound was made when three of them made their poses.
Japanese: 戦前では上方は梅王・松王・桜丸それぞれにツケ打ちが付いていて、三人が見得をする時はかなりの音量が出たという。
English: The Shiratayu family that protected Kanshojo lived in peace but that collapsed with the change of government.
Japanese: 菅丞相の庇護のもと、つつがなく暮していた白太夫一家が、政変により一気に瓦解してしまう。
English: Tokyo had a tendency to focus greatly on performance beauty and used various colors, including same white as Kamigata, or white under red (ICHIMURA Uzaemon (fifteenth generation) and Mitsugoro BANDO (seventh generation)).
Japanese: 東京は、様式美を重視する傾向があるので様々で、上方とおなじ白の他に、赤の下に白を着る（市村羽左衛門(15代目)、坂東三津五郎(7代目)）やり方。
English: Shiratayu had a tragic and difficult role of having his clan fallen apart and oversaw the death of his son and did not lose the parental love until even to the very end.
Japanese: 白太夫は自らの誕生日の祝う日に、一族がバラバラとなりついには我が子の死を看取る悲劇的な役割で、なおかつ、最後まで親の温情を失わない難しい役である。
English: The eleventh and thirteenth generations Nizaemon KATAOKA father and child took that role.
Japanese: 十一代目片岡仁左衛門、片岡仁左衛門(13代目)親子がそれぞれ当たり役としていた。
English: This was a tragic play that used an unique performance technique of Gidayu Kyogen of migawari (scapegoat) and modori (showing one's real good character after disguising it as a bad one).
Japanese: 身替り・モドリなど義太夫狂言の特徴的な作劇法を駆使して作り上げられた悲劇。
English: This was because the play was written at that time with a little consideration of following according to a historical evidence, and Terakoya and families into education used to worship the Tenjin statues, and guests during the Edo Period had a strong connection with Tenjin.
Japanese: これは当時の作劇において時代考証に対する意識が薄かったことと、寺子屋や教育に熱心な家庭では天神の像を祀る習俗があり、江戸時代の観客にとっては天神とのつながりが深い場所であったことによる。
English: "Terakoya" was performed as Tenran Kabuki (Kabuki the royal family attend to watch) at the residence of Inoue in April 1887.
Japanese: 1887（明治20）年4月、井上馨邸での天覧歌舞伎で『寺子屋』が演じられた。
English: The child that played the role of a fool called 'Yodarekuri' (drooling kid) was lectured by Genzo and held incense and rice bowl as a punishment.
Japanese: 劇中、道化役が演じる「よだれくり」という子供は、源蔵に叱られ罰として線香と茶碗を持って立たされている。
English: Meiji Emperor asked the chamberlain on the way home from Tenran Kabuki concerning 'Yodarekuri,' 'does that person hold incense and a rice bowl even at the house?'
Japanese: 天覧歌舞伎の帰途、明治天皇は「よだれくり」について「あの者は家でも線香と茶碗をもっているのか」と侍従に尋ねられた。
English: No, he is Tsuruzo NAKAMURA, who makes people laugh at stage as a role of a fool but is an honest and serious man at home," to which the emperor laughed, "he's a funny man."
Japanese: 「いえ、彼は中村鶴蔵という道化役で、舞台では人を笑わせておりますが、家では謹厳実直な者でございます」との返答に「面白いやつじゃ」と笑われた。
English: The climax of this scene was a decapitated head, and various shapes of Matsuo was present, but lid was usually placed near the body, and one look down the head with both hands jutting out lightly.
Japanese: この場面でのクライマックスは、首実検で、松王の型は古来さまざまあったが、蓋を手前に置いて、両手を軽く突きながら首を見下ろす。
English: The current standard form of performance is to look at Genzo with 'no difference,' look at Genba with 'there is no difference," closed the lid with 'Genzo', and lift up a right hand with 'well done in killing.'
Japanese: 「相違ない」で源蔵の方を見、「相違ござらぬ」で玄蕃の方を見、「源蔵」で蓋をして「よく討った」で右手を上げるというのが今日のスタンダードな型である。
English: The ninth generation Danjuro ICHIKAWA and Enjaku JITSUKAWA (second generation) had the flamboyant performance technique of having Genba to remove the lid, and Matsuo taking out the katana.
Japanese: なお、九代目市川團十郎や實川延若(2代目)の型は、玄番が蓋を取り松王は刀を抜く派手なそれである。
English: One actor forgot to put the head in a bucket when he performed as Genzo.
Japanese: ある役者が源蔵を演じた時、緊張して桶の中に首を入れるのを忘れてしまった。
English: Danjuro ICHIKAWA (seventh generation) was the one that played the role of Matsuo, but no head was present when lid was taken off.
Japanese: 松王を演じていたのが市川團十郎(7代目)であったが、首実検の際、蓋をとれば肝心の首がない。
English: Everybody froze, but Danjuro closed the lid without a word, and made Genzo leave with 'we will receive it later Genzo,' and said, 'hey, lord Genbo, it is a grave matter of beheading of your master.'
Japanese: 一同凍りついたが、團十郎は無言で蓋をし「源蔵改めて受取ろう」と返して源蔵を引っ込ませたあと、「のう、玄番殿、主君の首を討つほどでござる。
English: They performed the 'campaign to distribute a discount tickets' at Terakoya within a city for the first performance at Edo.
Japanese: 江戸での初演に際しては、今で言う「割引券を配布するキャンペーン」を市中の寺子屋に対して行った。
English: Actors of Kanshojo and tayu was compared with the 'lord Tenjin' worship, and they performed after purifying oneself (religiously) by abstaining from eating meat.
Japanese: 菅丞相役の役者や太夫は、「天神さま」という信仰の対象であることもあって、舞台に立つ時は精進潔斎してこれを行なっている。
English: Koshiro MATSUMOTO (ninth generation) stated, 'I used to wonder why guests cried during plays such as 'Terakoya' where children were sacrificed when I performed as a child (after the World War II).
Japanese: 松本幸四郎(9代目)は「自分が子役で出た頃（第二次大戦後）は、「寺子屋」等子供が犠牲になる芝居では観客がよく泣いたのを不思議に思った。
English: Later, I came to conclusion that they were the remaining families of those who died during the war' (Summary, Synopsis from the Two Hundred Twenty Seventh National Theater Performance).
Japanese: 後年、戦死者の遺族だったと思い当たった」（要約、国立劇場第二二七回歌舞伎公演筋書より）と語っている。
English: Inji is a Japanese combat technology that kills and wounds the objects by slinging, or an event.
Japanese: 印地（いんじ）とは、日本で石を投擲することによって対象を殺傷する戦闘技術、行事である。
English: In the slinging techniques, those who mastered the skill were called "Inji uchi" or "Inji zukai" (a slinger).
Japanese: また投石技術でこの技術に熟達した者を印地打ち、印地撃ち（印字打ち、印字撃ち）と呼び、また、印地使い（印地遣い）等とも呼んだ。
English: Inji had different styles such as slinging by hand, operating a Western style sling, utilizing Japanese towels in place of the sling, or throwing heavy stuff like putting a shot.
Japanese: 手で投げることを始めとして、西洋のような投石器を使用するもの、日本手ぬぐいを持ってそれに代用するもの、砲丸投のように重量のあるものを投げつけるものなど様々な形態があった。
English: Slinging by hand itself is a threat as shown in a baseball pitcher.
Japanese: 手で投擲することに関しては、野球の投手を見ればわかる通り、それだけで脅威である。
English: When operating a sling similar to the one of Western countries, the cloth with cords attached to the both ends is used.
Japanese: 西洋のものと同様の投石器を使用する場合は、布の両端に紐を付けたものを使用する。
English: In the center of the cloth, a handy stone is placed and wrapped, and it is rotated above the head (or at the side of the body, as another technique).
Japanese: 中央の布部分に手頃な石を包み、頭上でそれを回転させる（身体の脇で回転させる技法もある）。
English: When it is released from the hand with full speed, the accelerated stone shoots out like a bullet.
Japanese: 十分に速度がついたところで手を放すと、加速された石が弾丸のように飛んでいく。
English: The sling tied up to the wrist remains in hand, and another stone can be placed immediately to be thrown.
Japanese: 投石器自体は、手首に縛り付けてあるので手元に残るので、新たな石を挟むことで、即座に次の石を投擲出来る。
English: As a simple sling, a Japanese towel was substituted and often used in affrays or resistances besides in the battlefields, as shown in the historical record.
Japanese: 簡単なものでは、日本手ぬぐいなどでそのまま代用出来たらしく、戦場以外でも、喧嘩や抗争に多用された記録が残っている。
English: Besides slinging, there are other techniques such as the fundo jutsu (use of the weight [fundo] to attack an opponent's body or weapon) for the short distance, throwing many prepared stones tied up with strings one after another, and throwing a big stuff like a modern hammer throwing style.
Japanese: ちなみに、投擲する方法以外にも、近距離では分銅術として使用する方法や、石を紐で縛ったものを大量に用意しておくことで次々に投げつける方法、また、現在で言うハンマー投げように大きなものを投げつける方法などもある。
English: In the battle, the slinging was frequently used because it was low-cost (stones were always available at the riverside), the slings operated by skilled soldiers carried stones further than allows did, and the stone could damage the body even through the armor.
Japanese: 合戦においては、そのローコストさが非常に使いやすかったらしく（河原にいけば、簡単に石は確保出来た）また、熟達した兵士が使用した場合は弓よりも飛距離があった上、甲冑の上からでも衝撃が伝わったと言うことで、多用されたらしい。
English: According to the recent research, next to a bow and allow and a firearm, the sling was considered to be frequently used.
Japanese: 近年の研究によって、戦場では、弓矢、鉄砲につぐ兵器として、盛んに使われたとされている。
English: (Such as in Anpo Toso [Japanese national campaign against the Security Treaty], it is said that the radicals used it for fire bottles, throwing bombs and smoke bombs).
Japanese: （安保闘争などで、過激派が、火炎瓶、投擲爆弾、発煙筒などでも使用したとされる）
English: An event held on May 5, in which children are divided into two groups and throw stones each other like wars in the Sengoku period (period of warring states) is also called "Inji."
Japanese: なお、五月五日に大勢の子供が集まり、戦国時代の合戦をまねて二手に分かれて石を投げ合う行事もこう呼称する。