nntsuzu/KFTT huggingface dataset:
English: It has been said that this scene should be done with 'Kenkaba' (sword fight), the third act of Chushingura (the treasury of Loyal Retainers).
Japanese: この場面では忠臣蔵の三段目「喧嘩場（刃傷）」の気持ちで演じることという口伝が伝わっている。
English: Danshichi played by Enjaku JITSUKAWA (the second) looks up and down in a quarrel with Giheiji, 'There is nothing, no, nothing...'
Japanese: 實川延若(2代目)の団七は、義平次との口論で上下を眺めて「これ、何もおまへんで。何もないさかいに・・」
English: Enjaku acts caring for the people around with such a parting shot and his breathing was a masterpiece.
Japanese: との捨て台詞を吐いて周囲に気を使いながら演じたが、その呼吸が絶品であった。
English: After the curtain falls, danjiri with festival music appears, and Danshichi takes a towel from someone's hip, wraps his face with it, and said 'Chosaya, yosa' after everyone had gone.
Japanese: 幕切れは、祭囃子のだんじりを登場させ、団七が一人の腰から手ぬぐいを抜き取ったのを頬被りして、みんなが去った後、「ちょうさや。ようさ。」
English: It was usual for Danshichi to disappear tremblinglysaying hayashikotoba (appendix yelling words), but in staging Enjaku JITSUKAWA, the second was that the young man stares at the pond where Giheiji sank and Danshichi said 'Chosaya, yosa.'
Japanese: と囃子言葉を震えながら言って引っ込む形が普通であるが、二代目實川延若は、引っ込みの際、若い者が不振そうに義平次の沈んだ池を覗き込むのを、団七が「ちょうさや。ようさ。」
English: Tojuro SAKATA (the fourth) revived this staging in Osaka Shochiku-za Theater in July 2006.
Japanese: これは平成18年(2006)7月大阪松竹座において、坂田藤十郎(4代目)が復活させた。
English: Moreover, in the original, the curtain falls when Tokube walks by and picks up Danshichi's setta.
Japanese: なお原作では、徳兵衛が通りかかり、団七の雪駄をひらうところで幕となっていた。
English: One staging shows a quick change of clothes for the two roles of Giheiji and Tokube and this is a kabuki specific staging where an actor who died awfully appears as a beautiful figure at curtainfall.
Japanese: 義平次と徳兵衛が二役早替わりの演出もあるが、これは無残な死に方をした役の俳優が、幕切れに美しい姿で出る歌舞伎特有の演出である。
English: Tokube gave money to Danshichi to escape instead of tying him up with rope after torite (official in charge of imprisoning offenders) intruded.
Japanese: 捕り手の乱入後徳兵衛は縄をかける代わりに逃亡資金として金子を団七に渡す。
English: Wrongdoings of Sagaemon were revealed, disowning Isonojo was dissolved, and Nagamatsu accompanied by Sabu and Okaji tied up Danshichi with rope, but a reduction of sentence was promised by Hyodayu.
Japanese: 佐賀右衛門の悪事露見と磯之丞の勘当が解け、三婦とお梶に伴われた長松が団七に縄をかけるが、兵太夫により団七の減刑が約束される。
English: Sabuuchi that describes the taste of the summer festival, joys and sorrows of duty and obligations, and Nagamachiura an outstanding killing field in kabuki kyogen.
Japanese: 夏祭りの風情と義理人情の哀歓を描いた三婦内、そして歌舞伎狂言中屈指の殺し場である長町裏。
English: Each has a high spot as above and it is set in Osaka, which requires the rich taste of kamigata kabuki.
Japanese: と、それぞれ見どころがあるが、大坂を舞台としており、上方歌舞伎の濃厚な風情が要求される。
English: For Danshichi, Enjaku JITSUKAWA, the second in prewar years, Enjaku JITSUKAWA, the third and Nizaemon KATAOKA, the thirteenth in postwar years were good at it.
Japanese: 団七は、かつては二代目實川延若、戦後は三代目實川延若、十三代目片岡仁左衛門が得意とした。
English: Even in Tokyo, Danjuro ICHIKAWA (the ninth), Kichiemon NAKAMURA (the first), Uzaemon ICHIMURA (the fifteenth), Kanzaburo NAKAMURA (the seventeenth), Shoroku ONOE (the second), and others adopted staging integrated kamigata (Kyoto and Osaka) style into Edo.
Japanese: 東京でも、市川團十郎(9代目)、中村吉右衛門(初代)、市村羽左衛門(15代目)、十七代目中村勘三郎、尾上松緑(2代目)などが江戸に上方式を融合した演出を取っていた。
English: Nowadays Kanzaburo NAKAMURA, the eighteenth, Kichiemon NAKAMURA (the second), Tojuro SAKATA, the fourth, Ennosuke ICHIKAWA (the third), and others are good at it.
Japanese: 現在では十八代目中村勘三郎、中村吉右衛門(2代目)、四代目坂田藤十郎、市川猿之助(3代目)などが得意としている。
English: It was originated from "Yadonashi Danshichi" (Homeless Danshichi) of which premiere was played by Nizaemon KATAOKA (the first) in 1698 and there is 'Yadonashi Danshichi Shiguregasa' of the same line, which is occasionally played by the current Tojuro and others.
Japanese: もともと、元禄11年(1698)に片岡仁左衛門(初代)の初演した『宿無団七』が原作で、同じ系統に「宿無団七時雨傘」があり、現藤十郎らによってたまに上演されている。
English: Moreover, 'Onna Danshichi' (female Danshichi), 'Nazoobi Issun Tokube,' the masterpiece by Nanboku TSURUYA (the fourth), and others are included as kakikae (rewritten) kyogen.
Japanese: また、書き換え狂言としては「女団七」や鶴屋南北(4代目)の傑作「謎帯一寸徳兵衛」などがある。
English: Atmosphere in kamigata is said to be a life of this kyogen and kamigata's staging was emphasized even in Tokyo after the war.
Japanese: 上方の雰囲気がこの狂言の生命とされ、戦後は東京も上方の演出を重視する。
English: It is said that Nizaemon KATAOKA, the thirteenth once outraged when he saw Danshichi by a certain kabuki actor in Tokyo who lacked kamigata color, and therefore he appealed to Tojuro SAKATA (then Senjaku NAKAMURA) saying that 'This is blasphemous to the kamigata kabuki, so would you please play Danshichi as an example?'
Japanese: かつて十三代目片岡仁左衛門は、上方色の乏しい東京の某歌舞伎役者の団七を観て激怒し、坂田藤十郎（当時は中村扇雀）に、「これは、上方歌舞伎への冒とくや、あんさん、手本に団七をやっておくれやす」と頼み込んだという。
English: The role of Danshichi should show tenacity of kamigata plays and interest in movement of songs while being fresh because it's a summer play … The contrast from a dowdy figure of temporary release from a prison in Sumiyoshimae (Toriimae) to a figure wearing Yukata coming out from the second barber.
Japanese: 「団七の役は夏芝居らしくサッパリとしている中に、上方の芝居らしい粘りと曲な動きの面白みを見せなければならず・・・住吉前（鳥居前）の牢払いのむさくるしい姿から、二度目の床屋から出る浴衣姿との対照が。
English: Danshichi is not really Danshichi in this scene if the style that everything is fit does not go beautifully (in a sword fight of Nagamachiura).'
Japanese: 「（長町裏の殺陣は）すべて極まった形が手綺麗に行かぬと、この場の団七になりません。
English: ... Then... During this fight, mud coats fingertips and the kimono of Giheiji often attaches to a face and a kimono of Danshichi, so we should be careful not to put mud and at the same time we should give style, and this is also part of struggle for Danshichi in this scene.'
Japanese: ・・・・それから・・・・この立ち回りの間、とかく義平次の手先きや着物に塗った泥が団七の顔や着物に付着がちですので、なるべくそれをつけぬよう気を配りながら形をつけねばなりませんが、これも、この場の団七の苦心の一つでございます。」
English: The antecedent magazine "Gekkan Jushoku" was suspended at the July 1998 issue with the bankruptcy of the publisher, Kinkasha, afterward in December of the same year, it restarted by Kohzansha.
Japanese: 前誌が発行元の金花舎の倒産に伴って1998年7月号で休刊となった後、同年12月に興山舎からの発行で再出発。
English: Same as 'Gekkan Jushoku,' it is a practical magazine for chief priests of all temples, all temple families, and all priests, regardless of sect.
Japanese: 「月刊住職」と同様、宗派にとらわれない全寺院住職・寺族・僧侶向けの実用雑誌。
English: Like other practical magazines, it has articles such as 'How to choose Samue(Japanese Indigo Working Kimono),' 'Japanese-style confections beloved by parishioners' and reports from chief priests who are piling up beneficence in various places, and also a lot of scandalous articles such as 'The bogging traial for a graveyard between a parishioner and a chief priest' and 'A murder case of a chief priest.'
Japanese: 実用雑誌らしく「作務衣の選び方」「檀家に喜ばれる和菓子」などの記事や、各地で善行を積んでいる住職のリポートもあるが、「墓地を巡る檀家と住職の泥沼裁判」「住職殺害事件」など、スキャンダラスな記事も多く載せる。
English: "Short Reportage" features three or four hot short articles regardless of goodness or evilness for the Buddhist field.
Japanese: ショートルポ仏教界にとって善悪問わずホットな記事を短めに3、4本掲載。
English: Hiromi SHIMADA 'What is Soka Gakkai?' (After being retouched and corrected, it was published as books such as "Soka Gakkai" by Shincho New Book, "Ability of Soka Gakkai" by Asahi Shimbun, and "Soka Gakkai that becomes a race" by Kodansha).
Japanese: 島田裕巳「創価学会とは何か」（加筆訂正の上、『創価学会』新潮新書、『創価学会の実力』朝日新聞社、『民族化する創価学会』講談社として書籍化）
English: Moreover, each issue has two 'Frank Speaking to Chief Priests and Temples': essays by famous peoples of various sectors, ranging from literary world, public entertainments, music, academics, to journalism.
Japanese: この他、文壇、芸能、音楽、学術、ジャーナリズムなど、各界の著名人によるエッセイ「住職・寺院に直言」が毎号2本掲載される。
English: Eiichi SHINOHARA (the chief priest of Soto sect) 'Those who preach in secular lives' (published as the book "True stories that I would like all people to read" by Kohzansha)
Japanese: 篠原鋭一（曹洞宗住職）「在俗の説法者」（『みんなに読んでほしい本当の話』興山舎として書籍化）
English: Hiroshi KAMEI (Otani faction of Shin sect, a former editing committee member of "Doho Shimbun") 'Wisdom of Sayings by Buddha' (published as the "Book on why that sort of lifestyle doesn't work" by Kohzansha)
Japanese: 亀井鑛（真宗大谷派『同朋新聞』前編集委員）「伝承説話の智慧」（『そんな生き方じゃだめなのがわかる本』興山舎として書籍化）
English: Kosho TADA (Buddhism scholar) 'Introduction of etiquette in Buddhism' (published as the book "Where did a Buddhist mortuary tablet come from?" by Kohzansha)
Japanese: 多田孝正（仏教学者）「仏教儀礼入門」（『お位牌はどこから来たのか』興山舎として書籍化）
English: Jiro Tanaka (writer), Masanori MINEGISHI (the chief priest of Soto sect), and Ryochi SUYAMA (the chief priest of Shingon sect of Mt. Koya) take turns in writing.
Japanese: 田中治郎（作家）峯岸正典（曹洞宗住職）壽山良知（高野山真言宗住職）が交代で担当。
English: "Yamato-yasai" collectively refers to locally produced vegetables that have been recognized by the Nara Prefectural governament (old Yamato Province), consisting of 17 types of local produce called 'Yamato no dento yasai' (traditional vegetables of Yamato) and four types called 'Yamato no Kodawari yasai' (particular vegetables of Yamato) which are grown with particular technique.
Japanese: 大和野菜（やまとやさい）とは、現在の奈良県（旧大和国）で生産されている野菜のうち、奈良県が「大和野菜」と認定したもので、在来種である「大和の伝統野菜」17品目と栽培等に工夫を加えた「大和のこだわり野菜」4品目からなる。
English: Traditional vegetables are vegetables of native varieties that have been cultivated in various places since the ancient times.
Japanese: 伝統野菜（でんとうやさい）とは、各地で古くから栽培・利用されてきた野菜の在来品種。
English: Because of costs associated with production, distribution and sales, they have been rarely cultivated for shipment to mass-consumption areas since the 1970s.
Japanese: 1970年代以降、生産・流通・販売におけるコスト要素から、大消費地向けにはほとんど消滅した。
English: One of the strategies used in recent years is to take the indigenous varieties of vegetables, which had been grown solely for the farmer's own consumption, and incorporate them into the local market to reinvigorate the producer areas, sell them to neighboring cities as local produce, and ship them to metropolitan areas as "slow-food" products.
Japanese: 近年は、農家の自家需要などで生存していた品種を、産地の地域おこしとして取り入れ、近傍の都市向けには地産地消商品、大都市圏向けにはスローフード商品とする戦略などがみられる。
English: Nara chameshi is a kind of takikomi gohan (rice boiled with seasonal ingredients) and a local cuisine in various regions of Nara Prefecture.
Japanese: 奈良茶飯（ならちゃめし）は、炊き込みご飯の一種で、奈良県の各地の郷土料理。
English: Nara chameishi is prepared by boiling a small amount of rice with nonperishable foods such as roasted soybeans, azuki beans, roasted chestnuts or millets or seasonal vegetables in green tea or roasted green tea seasoned with salt or soy sauce.
Japanese: 少量のコメに炒ったダイズやアズキ、焼いたクリ、アワなど保存の利く穀物や季節の野菜を加え、塩や醤油で味付けした煎茶やほうじ茶で炊き込んだものである。
English: Nutritionally well balanced, Nara chameshi became a speciality of the teahouse 'Mannennya' which was located at Kawasaki-juku station during the Edo Period.
Japanese: 栄養バランスにも優れ、江戸時代に川崎宿にあった茶屋「万年屋」の名物となった。
English: Nara chameshi is said to have originated from rice eaten at priests' residences in temples such as Kofuku-ji Temple and Todai-ji Temple using tea which was valuable in those days and presented from people living in each temple's territory.
Japanese: 元来は奈良の興福寺や東大寺などの僧坊において寺領から納められる、当時としては貴重な茶を用いて食べていたのが始まりとされる。
English: Originally, rice boiled with tea prepared by used leaves was immersed in the strong tea prepared as the first decoction of the tea leaves.
Japanese: 本来は再煎（二番煎じ以降）の茶で炊いた飯を濃く出した初煎（一番煎じ）に浸したものだった。
English: It is said that the recipe was introduced to the Edo and Kawasaki regions, and started to be served at Mannenya and other eateries.
Japanese: それが江戸や川崎に伝えられ、万年屋などで出されるようになったとされている。
English: The humorous novel "Tokai dochu hizakurige" (Travels on Foot on the Tokaido) by Ikku JUPPENSHA referred to Mannenya and its Nara chameshi, making the teahouse further famous; in the latter half of the Edo Period, Mannenya became so popular that even some daimyo (feudal lords) dropped by for lunch.
Japanese: さらに十返舎一九の滑稽本『東海道中膝栗毛』に万年屋および奈良茶飯が登場したことで一層有名となり、万年屋は江戸時代後期には大名が昼食に立ち寄るほどの人気を博したと言う。
English: Shika senbei are sold in Nara Park, Nara City, to tourists for them to feed the deer that roam free in and around the park.
Japanese: 鹿せんべい（しか-）は、奈良市の奈良公園周辺で放し飼いの鹿に観光客が与える餌として販売されているものである。
English: The senbei are produced and sold by the Foundation for the Protection of Deer in Nara Park, and the trademark for these senbei has been registered by the foundation.
Japanese: 奈良の鹿愛護会が、製造販売しているもので、同会の登録商標となっている。
English: If you are slow unwrapping the senbei, an impatient deer will give you a light head-butt.
Japanese: ここで煎餅を束ねている紙をはがすのに手惑うと、軽く頭突きなどをしてくるので注意が必要である。
English: You can feed every deer by stepping backward slowly as holding out senbei one by one.
Japanese: 一枚ずつ鹿に与えながらゆっくり後ろに下がって行くと一頭一頭に与える事ができる。
English: Once you finish giving out all the senbei, open your hands to show that you have no more senbei.
Japanese: そしてせんべいがなくなったら、ぱっと手を開き、無くなったことをアピールする。
English: As deer can smell out any piece of senbei left in your bag, you have to give them all.
Japanese: 半分を残して鞄などにしまっても、鹿は匂いでまだ残っている事に気付くので無意味。
English: The Shika-senbei Throwing Tournament has been held since 1993 on Spring Equinox Day when Mt. Wakakusa opens for its spring climbing season.
Japanese: 鹿せんべい飛ばし大会が1993年以来、毎年若草山の山開きの日（春分の日）に行われている。
English: In the Tournament, mega-size senbei are used, and there are specific rules, such as; 'if a deer eats the senbei a player threw, the distance to the front right leg of the deer will be measured for his or her record', or 'leave the senbei already measured on the field for deer to eat.'
Japanese: 大会では大会用の特製サイズのせんべいが使われ、「投げたせんべいを鹿が食べてしまった場合、その鹿の右前足までの距離を記録とする」、｢計測済みのせんべいは鹿が食べるのでそのままにしておく｣などのルールがある。
English: As of 2008, the contest's official record is 59.0 meters which was set in 2008.
Japanese: ちなみに2008年までの大会公式最高記録は2008年度の59.0m。
English: There is also an unofficial record of 74.55 meters marked in the special tournament held during the summer vacation in August 2008.
Japanese: なお2008年8月の夏休み特別イベントでの臨時開催では74.55mの記録も出ている。
English: Kogeki hasshu is a family's specialty (iegei) of Danzo ICHIKAWA, Mikawaya (Kabuki), that Danzo ICHIKAWA VI had picked out.
Japanese: 古劇八種（こげきはっしゅ）は、市川團蔵(6代目)が撰じた三河屋(歌舞伎)・市川團蔵のお家芸。
English: Seitaro ATSUMI, a kabuki critic, conjectures that some of the programs are related to aragoto (Kabuki play featuring exaggerated posture, makeup, and costume).
Japanese: 歌舞伎研究家の渥美清太郎は、いくつかの演目は荒事に関するものではないかと推測している。
English: Judgment of Nyobutsu is a leading case in Kamakura period concerning the life-and-death judgment in the rules of Igo (board game of capturing territory), admitting a kasho (tentative life) in double ko.
Japanese: 如仏の判決（にょぶつのはんけつ）は、囲碁のルールのうちの死活において「両劫に仮生一つ」を認めたという鎌倉時代の判例。
English: It is a problem as to the the life or death of a white stone on the right-hand side, in case there is a double-ko (left-hand side) and a white stone with a me and ko (right-hand side) on the same board shown as the figure.
Japanese: 図におけるコウ両コウ（左辺）があり、同じ盤面上に一眼とコウを持つ白石（右辺）がある場合の、右辺の白石の生死に関する問題。
English: The white stone is in 'life' since even if the black stone takes the ko on the right, it has endless kozai at the place of double ko and the white always has a chance to get ko back.
Japanese: -右辺のコウを黒から取られても、両コウのところに無限のコウ材があるため、常にコウを取り返せるので「生」
English: In 1253, during the game of two Buddhist monks Hotan-bo and Gyobu-bo, this form appeared.
Japanese: 1253年（建長5年）に法探坊と刑部坊という二人の僧の対局にこの形が現れた。
English: They asked the then Igo master, Hogan Shunkai of Bichu, and received an answer admitting a kasho in double ko (alive).
Japanese: 当時の囲碁の上手と言われた備中法眼俊快に訪ねたところ「両劫にかせう一つとは是なり」（生）と言った。
English: Then they asked Nyobutsu and received an answer saying that it was not the dead stone in double ko although there was a me (alive).
Japanese: さらに如仏に尋ねると「目一つありと雖も、両劫のあらむには死石にあらず」（生）と述べられた。
English: In 1821, a Confucian scholar in Bingofukuyama Domain, Hachiro OTA, asked about this problem to the four iemoto.
Japanese: 1821年（文政4年）に備後福山藩の儒学者太田八郎が、家元四家にこの問題について問い合わせた。
English: Honinbo Genjo, Chitokusenchi YASUI, Insainseki INOUE, Genbi HAYASHI and Inshuku HATTORI held a discussion and Genjo announced their answer denying Nyobutsu.
Japanese: 本因坊元丈・安井知得仙知・井上因砂因碩・林元美・服部因淑が討議し、元丈から「如仏非に成りし」と回答。
English: Kasho' the word Shunkai said was interpreted as a tentative life, possible life or adding life.
Japanese: また俊快の述べた「かせう」の文字は「仮生」「可生」「加生」などとする説があった。
English: In Meiji period, many Igo players supported the judgment of Nyobutsu (theory of life-and-death in all stages), but Nihon Ki-in adopted the theory of partial life-and-death when it established the rule in 1949.
Japanese: 明治時代になると如仏の判決（全局死活論）を支持する棋士(囲碁)が多かったが、日本棋院が1949年に制定した囲碁規約では部分死活論が採用された。
English: Under China and Taiwan rules (point system rules), the judgment is death from the standpoint of forbidding repeated movement in the game.
Japanese: 中国ルール・台湾ルール（計点制ルール）では、全局的な同形反復禁止の観点から死とされる。
English: When the Nihon Ki-in's rule was revised in 1989, the idea was succeeded through the regulation 'forbidding to take back the same ko in the judgment of life-and-death' after the game is finished.
Japanese: 1989年の日本囲碁規約改訂では、対局の停止後での「死活確認の際における同一劫での取り返しは、行うことができない」という規定により、これが継承された。
English: In 1959, in the second game out of three match series between Seigen GO and Hosai FUJISAWA, Go asked for playing the game under the theory of life-and-death in all stages.
Japanese: 1959年の呉清源-藤沢朋斎の三番勝負第2局において、呉が全局死活論での対局を申し入れた。
English: Some people take the view of this as an action to raise a question about the revision of the then Japan Igo rules with several unreasonable points since there was a trouble in the interpretation of the rules concerning the ko at the end of the game of the preceding the second game out of Honinbo three match series between Go and Kaku TAKAGAWA.
Japanese: これは直前に行われた呉-高川格の本因坊三番碁の第2局で、終局時にコウの手入れを巡るルール解釈の問題が生じたことから、当時不合理な点の残る当時の囲碁規約見直しについての問題提起の一つであった、との見方もある。
English: It is appreciated as Edo kizewamono kyogen of the Meiji era which Mokuami wrote for Kikugoro ONOE V.
Japanese: 黙阿弥が尾上菊五郎(5代目)のために書いた、明治期の江戸生世話物狂言の傑作として評価されている。
English: The story is structured in mixtures of an illicit affair involving Osuga, wife of Umekichi who was the head of the firefighters called 'Kagatobi' in Kaga clan's employ, and the crime of an evil masseur, Dogen TAKEGAKI; however, as Kikugoro ONOE VI, who was good at playing Dogen, made it into a sophisticated staging, and the play gained popularity, today only the story of Dogen is put on the stage, and for the story of Kagatobi, only Act Two, 'Hongo Toricho Seizoroi', is performed.
Japanese: 加賀藩お抱えの火消し人足「加賀鳶」の頭、梅吉の妻おすがをめぐる間男騒動と、悪党の按摩竹垣道玄の悪事の行状をない交ぜにした構成だが、道玄を得意とした六代目尾上菊五郎(6代目)により演出が洗練され人気を集めたので、現在では道玄の件のみが上演され、加賀鳶の件は、二幕目「本郷通町勢揃い」のみしか演じられない。
English: Kikugoro wanted to perform "Kanzen choaku nozoki karakuri" (commonly known as "Choan Murai") that Kodanji ICHIKAWA IV had played for the first time, but understanding the intention of persons involved that it was not befitting to Kikugoro's character, Mokuami rewrote it into a new program based on the outline of the details detailed outline?? of 'Choan Murai.'
Japanese: 菊五郎は尊敬する市川小團次(4代目)が初演した『勧善懲悪覗機関』（村井長庵）をやりたかったが、これは菊五郎の柄に合わないと考えた関係者の意向を汲んで、黙阿弥が「村井長庵」の細部の筋書きを元に新たに書き直したものである。
English: Compared to the deep and grim "Choan Murai," it has much simpler plot, is cheerful, is filled with sophistication and entertainment, and is a piece that displayed skills of Mokuami who had full knowledge of a difference in the artistic style beween Kodanji and Kikugoro.
Japanese: 重厚で陰惨な『村井長庵』に比べるとよりすっきりとした筋立てで、明るく、粋と娯楽に富んでおり、小團次と菊五郎の芸風の違いを知り尽くした黙阿弥の手腕が光る一編となっている。
English: Evil Dogen, while pretending to care for a peasant named Tajiuemon who was suffering from chronic illness, murders him and steals his money.
Japanese: 悪党道玄が持病に苦しむ百姓太次右衛門を介抱する振りをして殺害し金子を奪う。
English: Just that instant, he was questioned by Matsuzo, the head of Kagatobi, who happened to be passing by, but calmly walks away by playing a flute of massager.
Japanese: おりしも通りかかった加賀鳶の頭松蔵に見咎められるも、道玄は悠然と按摩の笛を吹いて立ち去る。
English: Along with 'Scene of all members at the Inase-gawa River' of "Aotozoshi hana no nishikie" (Picture of flower of Aorozoshi) (Shiranami Gonin Otoko [a group of five dandy thieves]), this is an Act that is filled with beauty of style.
Japanese: 『青砥稿花紅彩画』（白浪五人男）の「稲瀬川勢揃いの場」とならぶ様式美あふれる一幕。
English: Dogen takes Osetsu as his wife, who is a younger sister of Tajiuemon whom he murdered, and makes Tajiuemon's daughter, Oasa, serve at Iseya which is a wealthy merchant living nearby, and everyday, he is in the state of drinking, gambling, and having Okane, a masseuse, as his mistress.
Japanese: 道玄は殺害した太次右衛門の妹おせつを女房に迎え、太次右衛門の娘おあさを近所の豪商伊勢屋に奉公に出しているが、毎日酒と賭博に入り浸り女按摩おさすりお兼を愛人にしている有様。
English: Despite Osetsu's grief, Dogen and Okane sells Oasa off into a life of prostitution, and plots crime on the story of Oasa receiving five ryo (unit of gold currency) from his master.
Japanese: おせつの嘆きをよそに、道玄とお兼はおあさを苦界に売り飛ばしおあさが主人から五両恵んでもらったことをねたに悪事をたくらむ。
English: Dogen and Okane forges Oasa's letter and visits the master of Iseya, and blackmails him by picking a quarrel for sleeping with Oasa, but they retreat in disappointment when Matsuzo who dashes into the scene drops a hint of the murder at Ochanomizu with evidence of a tobacco pouch that Dogen had dropped and lost.
Japanese: おあさの贋手紙をこしらえた道玄とお兼は、伊勢屋の主人に面会しおあさが同衾したと因縁を吹っかけ強請りを働くが、駆けつけた松蔵に、道玄の落とした煙草入れを証拠にお茶の水の殺人を仄めかされ、二人はすごすごと退散する。
English: Famous lines referred to as 'yakuharai' (lines both sentimental and musical) made of five-and-seven syllable meter which was Mokuami's specialty, such as 'Dogen, who lied and extorted money by making lies seem true…' 'it was moreover, the 15th day of the new year, when it was cloudy with rainy clouds though the moon was out, the sky of Ochanomizu was also hazy' are worth attention.
Japanese: 「もとより話の根無し草、嘘をまことに拵えて金を強請りにきた道玄・・・」「しかも正月十五日、月はあれども雨雲に、空も朧の御茶の水・・・」など黙阿弥得意の五七調の名台詞「厄払い」が聴き所である。
English: The nagaya (row houses) is in commotion because a brown dog had dug up a blood stained clothing from the floor of Dogen's house.
Japanese: 長屋では、赤犬が血のついた衣類を道玄宅の床から掘り出して大騒ぎである。
English: Dogen in fact, had buried the clothes stained with blood in the murder in Ochanomizu to destroy evidence.
Japanese: 実は道玄が御茶ノ水の殺人のとき返り血のついた服を埋めて証拠隠滅を図っていたのであった。
English: Alarmed, Dogen tries to run away with Okane, but it is too late, for torite (official in charge of imprisoning offenders) has already stepped inside their house.
Japanese: 一大事とばかり道玄はお兼ともに逃亡をはかるが、すでに遅く捕り手に踏み込まれる。
English: He had recreated the fashion of Kagatobi through making field trips by asking opinions of those who were concerned, and went so far as to purchase yokan colored (color of faded black mixed with red) haori (a Japanese half-coat) to make it into Dogen's costume.
Japanese: 関係者から意見を聞いて現地調査を行い加賀鳶の扮装を再現したり、古道具屋でくたびれた羊羹色の羽織を購入し道玄の衣装とするほどであった。
English: Further, the Shinigami (The Death-God) in Act Five was intended for Kaidanmono (a ghost [horror] story) which may be said as specialty of succesive Kikugoro, and Kikugoro V tried to reproduce Shinigami that he had seen his grandfather, Kikugoro III perform when he was a child, and he produced it on the basis of opinions from artists such as Kyosai KAWANABE and Yoshitoshi TAISO.
Japanese: また、五幕目の死神は、歴代菊五郎のお家芸というべき怪談物を意識したもので、幼少のころ見た祖父の三代目菊五郎の死神を再現しようと、河鍋暁斎、大蘇芳年ら画家らの意見をもとに作り上げた。
English: Kikugoro ONOE VI who considered the role of Dogen as his forte, regarded the scene of extortion at the pawnshop as the most essential part, and said 'The role of Dogen is complete if this scene is performed well.'
Japanese: 道玄役を得意とした尾上菊五郎(6代目)は、一番の眼目を質屋の強請り場と位置づけ「道玄はここさえできたらよい」と言っていた。
English: Kikugoro was in competence with Kichiemon NAKAMURA I who performed Matsuzo, and combined with the lines made up of the famous meter, their exchange was so extreme as though they were having a big argument.
Japanese: 芸を競い合う仲だった中村吉右衛門(初代)が勤める松蔵とのやりとりは、名調子の台詞もあいまって火花を散らすような凄さだったという。
English: In January 1949, Kikugoro who was performing Dogen at Toyoko Gekijo Theater collapsed due to a hemorrhage in the eyeground, and died without making comeback on stage; this was his last performance.
Japanese: 昭和24年(1949)1月、東横劇場で道玄を勤めていた菊五郎は眼底出血で倒れ、再起できぬまま死去、これが図らずも最後の舞台となった。
English: The person that acted in substitution on this occasion was Shoroku ONOE II, and Kikugoro had explained the frame of mind in performing Dogen from his sickbed, saying 'Be polite, even if you cannot perform well.'
Japanese: このとき代役を務めた尾上松緑(2代目)に病床から「うまくなくってもいいから、行儀よくやりな」と道玄の心構えを説いている。
English: The performance which demanded foolishness in spite of being a rascal as well as grace and realism, was passed down by this Shoroku II, Kanzaburo Nakamura XVII, Tomijuro NAKAMURA V and so on.
Japanese: 悪党ながらもどこか間の抜けたところがあり、かつ品格と現実性が求められる演技は、この二代目松緑や、中村勘三郎(17代目)、中村富十郎(5代目)らによって継承された。