nntsuzu/KFTT huggingface dataset:
English: His father, Yasunori, later passed on the Rekido (the study of the calendar) of the Onmyodo (way of Ying and Yang; occult divination system based on the Taoist theory of the five elements), which was the teaching of the family, to Mitsuyoshi, and the Tenmondo (ancient horoscopy) to his favorite disciple (or junior disciple), ABE no Seimei, and thus the two main Soke (the head family or house) of Onmyodo, 'Angaryo family' (Abe family and Kamo family) were established.
Japanese: 父・保憲は後に家学であった陰陽道のうち暦道を光栄に、天文道を愛弟子（もしくは弟弟子）の安倍晴明に譲り、ここに陰陽道の二大宗家「安賀両家」が成立する。
English: It seems that Mitsuyoshi, wondering why his father went so far as to divide the Onmyodo, which was the teaching of the Kamo family, in order to give the position of Soke to the Abe clan; as such, it is said that Mitsuyoshi argued with Seimei over this matter ('Zoku kojidan' (Talks of the Past, Continued)).
Japanese: 光栄はなぜ賀茂氏の家学である陰陽道を分割してまで安倍氏に宗家の地位を与えたのか疑問に思っていたらしく、晴明と争論したという（「続古事談」）。
English: He successively held posts such as Reki hakase (master of reki (calendar)), Tenmon hakase (master of tenmon (astronomy)), and Kazue no kami (the head of budget bureau), and one theory has it that he successively held the post of Onmyo no jo (secretary of Onmyoryo (Bureau of Divination)) although this is unlikely.
Japanese: 暦博士・天文博士・大炊頭・主計頭などを歴任、一説には陰陽允を歴任したというが可能性は低い。
English: Kanjiro KAWAI (August 24, 1890 - November 18, 1966) was a ceramic artist in Japan.
Japanese: 河井寛次郎（かわいかんじろう、1890年(明治23年)8月24日-1966年(昭和41年)11月18日）は、日本の陶芸家。
English: He produced excellent work in the areas such as sculpture, design, calligraphy, poetry, prose poetry (詞), and essays, in addition to ceramics.
Japanese: 陶芸のほか、彫刻、デザイン、書道、詩、詞、随筆などの分野でも優れた作品を残している。
English: In 1910, he entered the department of ceramic engineering at Tokyo Higher Technical School (present-day Tokyo Institute of Technology) after graduating from Matsue Junior High School (present-day Matsue Kita Senior High School of Shimane Prefecture).
Japanese: 松江中学（現島根県立松江北高等学校）を経て、1910年、東京高等工業学校（現東京工業大学）窯業へ入学する。
English: Not having anyone to regard as his master in the world of potters where the master-student relationship was highly valued, Kanjiro became a potter of the new generation who learned pottery in an educational institution called a school.
Japanese: 寛次郎には師と仰ぐ者がなく、師弟関係を重んじる陶工の世界にあって、学校という教育機関にて指導を受けた新しい世代の陶工となる。
English: He received instruction from the potter, Hazan ITAYA, and conducted scientific studies on ceramic engineering at Tokyo Higher Technical School.
Japanese: 東京高等工業学校では、陶芸家の板谷波山の指導を受けたほか、窯業の科学的研究を行った。
English: Kanjiro joined the Kyoto Ceramic Research Center (京都市立陶芸試験場) after graduating from Tokyo Higher Technical School, and along with Shoji HAMADA, his junior at the school, he studied more than 10,000 types of glazes, reproduced and studied ceramics from the past, such as Chinese ceramics.
Japanese: 東京高等工業学校卒業後は、京都市立陶芸試験場に入所し、東京高等工業学校の後輩でもある濱田庄司とともに1万種以上の釉薬の研究や、中国陶磁など過去の陶磁の模倣や研究も行った。
English: Serving as technical adviser to Rokube KIYOMIZU the Fifth, Kanjiro, in 1920, obtained Rokube's kiln in Gojozaka, Kyoto, named it 'Shokei yo' (Shokei kiln), and began to create his own work.
Japanese: 1920年、五代清水六兵衛の技術的顧問を務めていた縁で京都・五条坂にあった彼の窯を譲り受け、「鐘渓窯」と名づけ自らの作品制作を開始する。
English: At this time, he met the PR manager of Takashimaya Tokyo, Kenichi KAWAKATSU, with whom he formed a lifelong friendship.
Japanese: このとき東京高島屋の宣伝部長であった川勝堅一と知り合い、生涯にわたり親交をもつ。
English: At the ceramics exhibitions at the Takashimaya department stores, Kanjiro introduced sophisticated, elegant works that he modeled after the great ceramics from China and Korea and applied the results of his scientific studies to, and suddenly received public attention as a master potter even though he was a newcomer.
Japanese: 高島屋での陶磁展では、中国・朝鮮の陶磁の名作に倣い、科学的研究の成果を取り入れた超絶技巧の華やかな作品を発表、新人にして名人と一躍注目を浴びた。
English: At the same time at the Creative Ceramics Exhibition, Kanjiro held 'the Korean Folk Art Exhibition', displaying the ceramics from the Joseon Dynasty collected by Muneyoshi YANAGI, and was deeply impressed by the simple yet beautiful works of unknown potters.
Japanese: 創作陶磁展覧会と同時期に柳宗悦の集めた李氏朝鮮の陶磁展「朝鮮民族美術展」を展観し、無名の陶工の作り出す簡素で美しい作品に感銘を受ける。
English: Kanjiro stopped producing his own works, saying to himself, "My works are like costumes and makeup, but what has happened to the body inside and the spirit?"
Japanese: “自分の作品は衣装であり化粧であり、中身の体はどうしたのか、心がけはどうしたのか”と、自らの作品制作を中断する。
English: In 1924, he deeply sympathized with Yanagi's folk theory and set the goal of creating useful ceramics for daily use when Shoji HAMADA returned home from England, showed him the various containers and slipware he collected there, and introduced Yanagi to him.
Japanese: 1924年、イギリスから帰国した濱田庄司に現地で収集した雑器・スリップウェアを見せられ、濱田から柳を紹介されその民芸理論に深く共感し、日用の実用的な陶器制作を新たな目標とした。
English: He joined the 'Mingei movement,' which aimed to discover old daily necessities and recover the skills to produce them, to promote the beauty of ceramics for daily use produced by unknown artisans, and to produce and spread new daily ceramic necessities.
Japanese: 古い日用品を発掘しその制作のための技術を復活させ、無名職人による日用の美を世に広め、新しい日用品を制作し普及しようとした「民芸運動」にかかわるようになる。
English: Kenkichi TOMIMOTO, Tatsuaki KURODA, and Bernard Leach also joined the movement, and at his exhibition at the Takashimaya department store was held in 1929 after a long period of silence, Kanjiro shifted his focus from classic to daily ware.
Japanese: 富本憲吉、黒田辰秋、バーナード・リーチらとも合流し、1929年に長い沈黙を破って開いた高島屋の個展では、古典から日用の器へと路線を変更した。
English: He visited various places, influenced by the sites of handicraft production and the ceramics of Japan, Korea, and England, he produced a series of ceramics with beautiful coloration made from glaze technology while adopting simple, practical designs, and thus he received public attention again.
Japanese: 寛次郎は各地を訪れ、手仕事の制作現場や、日本や朝鮮やイギリスの器から受けた影響をもとに、実用的で簡素な造形に釉薬の技術を生かし、美しい発色の器を次々と生み出して再び注目を浴びた。
English: When the Muroto typhoon destroyed his house in Gojozaka, Kanjiro designed his new house with a studio by modeling the shape of houses in his hometown with the structure to match the shape of a climbing kiln and completed the construction of the house with the help of the carpenters from his parent's family in 1937.
Japanese: 室戸台風で五条坂の自宅が損壊したことを契機に、故郷の民家の形をもとに、登り窯の形に対応するかのような構造をした新しい自宅兼仕事場を自ら設計し、大工である実家とも協力して1937年に完成させた。
English: In the same year, his 'flower design vase with iron and cinnabar glaze' (鉄辰砂草花図壷) won the grand prize at the Paris World Exposition (1937) through Kenichi KAWAKATSU's special arrangement.
Japanese: 同じ年、川勝堅一の計らいで「鉄辰砂草花図壷」がパリ万国博覧会(1937年)でグランプリを受賞する。
English: After World War II, Kanjiro, who had developed an interest in folk art in the world, began to produce works in wood carving.
Japanese: 第二次世界大戦後、世界の民族芸術に関心を深めた寛次朗は木彫の制作も開始する。
English: He started to write poems and prose poetry during World War II when materials were difficult to obtain, and created his prose poetry 'Hi no chikai' (literally, fire oath) on a woodcut by Shiko MUNAKATA in 1947.
Japanese: 材料の入手が困難であった戦時中より詩、詞の創作を始め、1947年には寛次郎の詞「火の誓い」を棟方志功の板画で制作。
English: This was a time when he wrote a large number of reflective essays during his old age, but, for ceramic works such as pots and plates, he produced them as if they had been created with a method of action painting by slamming the glaze with a brush against the rough surface of flexible shapes.
Japanese: 老境にいたり深い思慮を重ねた文章を多数残した時期だったが、壷や皿などの陶の作品は、荒々しい素地で用途にとらわれない自在な形状に、アクション・ペインティングのように釉薬を刷毛で打ちつけるような作品を残している。
English: Moreover, he tested all kinds of glazes and designs, never losing his creative drive until his death.
Japanese: またあらゆる釉薬や造形を試し、その創作意欲が生涯枯れることはなかった。
English: Although recommended as a Living National Treasure and a member of the Japan Art Academy, he declined them as well.
Japanese: 人間国宝、日本芸術院会員などへの推挙もあったが、同様に辞退している。
English: In 1957, his 'flower design flat vase with white glaze' (白地草花絵扁壷) won the grand prize at the Milan Triennale International Industrial Art Exhibition arranged by Kenichi KAWAKATSU, but Kanjiro continued to work as a potter without rank or prize until his later years.
Japanese: 1957年には川勝堅一の計らいで「白地草花絵扁壷」が、ミラノ・トリエンナーレ国際工芸展グランプリを受賞するも、無位無冠の陶工とし晩年まで創作活動を行った。
English: OE no Otondo (811 - December 15, 877) was a noble and scholar who lived in the Heian period.
Japanese: 大江音人（おおえのおとんど、弘仁2年（811年）-元慶元年11月3日(旧暦)（877年12月15日））は平安時代の貴族、学者。
English: In 866, he changed his family name from '大枝' (large branch) to '大江' (large river) because he thought that: a large branch may cause the trunk of the tree to break, which is rather inauspicious.
Japanese: 貞観(日本)8年（866年）「大枝」から「大江」へと姓を改めているが、「枝が大きいと、本体である木の幹が折れる事にも繋がり不吉である」との理由であったようだ。
English: Since he was given the family name "大枝" by Emperor Kanmu, he could not completely change his family name and thus changed only the Chinese Character with the pronunciation unchanged.
Japanese: しかし「大枝」姓は桓武天皇より授かったものであるので全面的に変更するわけにもいかず、読みかたはそのままで漢字だけ変えた。
English: For the family name of '大江' (large river), he hoped that his descendants would remain prosperous like a large river.
Japanese: 「大きな川（江）の様に末永く家が栄えるように」との意味があるという。
English: There are some theories that: Otondo was in fact the first son of Imperial Prince Abo, but as the Imperial Prince was demoted to Dazai-fu (local government office in the Kyushu region) by being implicated in the Kusuko Incident, he was adopted by OE no Mototaka; and Otondo's mother who (from the Nakatomi family) was originally a waiting woman for Imperial Prince Abo, and after she got pregnant by Imperial Prince Abo, she became the wife of Mototaka and gave birth to Otondo, therefore Otondo may be the brother of ARIWARA no Yukihira or ARIWARA no Narihira.
Japanese: なお一説によると、音人は実際は阿保親王の長子であるが、親王が薬子の変の連座で大宰府に左遷されたため、大枝本主の養子になった、あるいは、母中臣氏はもともと阿保親王の侍女で、阿保親王の子を身籠もった後に、本主の妻となり音人を産んだといわれ、在原行平や在原業平らと兄弟だともされる。
English: January 7, 854: He rose to the rank of Jugoinojo (Junior Fifth Rank, Upper Grade) and retained his positions as Minbu shoyu, Togu gakushi, and Dainaiki.
Japanese: 854年（仁寿4）1月7日、従五位上に昇叙し、民部少輔・東宮学士・大内記元の如し。
English: November 16, 860: He rose to the rank of Jushiinoge (Junior Forth Rank, Lower Grade) and retained his positions as Gon Sachuben and Shikibu shoyu.
Japanese: 860年（貞観2）11月16日、従四位下に昇叙し、権左中弁・式部少輔元の如し。
English: January 7, 866: He rose to the rank of Jushiinojo (Junior Fourth Rank, Upper Grade) and retained his positions as Sangi, Udaiben, and Harima gon no kami.
Japanese: 866年（貞観8）1月7日、従四位上に昇叙し、参議・右大弁・播磨権守元の如し。
English: January 7, 874: He rose to the rank of Jusanmi (Junior Third Rank) and retained his positions as Sangi, Sadaiben, and Omi no gon no kami.
Japanese: 874年（貞観16）1月7日、従三位に昇叙し、参議・左大弁・近江権守元の如し。
English: OE no Chifuru (866 - July 8, 924) was a court noble in the Heian period.
Japanese: 大江千古（おおえのちふる、貞観(日本)8年（866年）-延長(元号)2年5月29日(旧暦)（924年7月8日））は、平安時代の貴族、公家。
English: Chifuru's two poems, one was about winter and the other was about love, were selected into "Gosen Wakashu" (Later Selected Collection of Japanese Poetry), and when the completion of Nihongi (the six classical Japanese history texts) was celebrated in 906, he made another poem, which was selected into "Shin Kokin Wakashu" (New Collection of Ancient and Modern Japanese Poetry).
Japanese: 『後撰和歌集』に千古の「冬の歌」と「恋の歌」の二つの歌があり、『新古今和歌集』には延喜6年（906年）の日本紀竟宴の時に詠まれた千古の歌がある。
English: After he passed away on July 8 (on March 14, a theory says), 924, he received the investiture of Iyo no Gon no kami (the provisional governor of Iyo Province), and of Jushiinoge (Junior Fourth Rank, Lower Grade).
Japanese: 924年（延長2年）5月29日、卒去（没日を2月2日とする説もある）時に伊予権守従四位下。
English: OE no Takachika (date of birth unknown - July or August, 1046) was a nobility who lived in the Heian period.
Japanese: 大江挙周（おおえのたかちか、生年不詳-永承元年（1046年）6月(旧暦)は、平安時代の貴族。
English: When Takachika's advancement was not going well, his mother, Akazomeemon, sent a poem to FUJIWARA no Michinaga's wife, MINAMOTO no Rinshi:
Japanese: 挙周の出世が伸び悩んでいる時に、母の赤染衛門は藤原道長の妻源倫子に歌を送った。
English: (As I brush off the snow falling on my head, my mind is full of concerns about my body vanishing like snow before [my son is promoted]. Pease consider my feelings.)
Japanese: （頭にふりかかる雪を打ち払いながら、雪のように我が身が消えないうちにと急ぐ心を、どうぞお察し下さい）
English: Snow on her head: Refers to her hair turning white; the poem reflects the aging mother's concerns for her son.
Japanese: 頭の雪＝自分の白髪とかけ、年老いつつも息子を案じる母の心を詠んだ歌であるという。
English: Since his illness only took a turn for the worse, Akazomeemon arrived from Kyoto immediately and prayed for her son's cure at Sumiyoshi-jinja Shrine.
Japanese: 挙周の病は重くなる一方であったので、赤染衛門は京から急いでかけつけ、住吉神社で息子の治癒を祈願した。
English: (I would gladly give my life for my son, but then if I have to part from my son as a result, that would be sad, too.)
Japanese: （息子の命と代えようと言う私の命は惜しくないけれども、そうして息子と別れるならばやはり悲しいことであるよ）
English: The poem expressed her desire to sacrifice her life only to save her son.
Japanese: 自分の命を捧げても惜しくはないので、息子だけは助けてほしいという歌であった。
English: Eventually Takachika made a full recovery, but when he heard about his mother's actions, he went to Sumiyoshi-jinja Shrine like his mother and prayed: 'I cannot live if my mother died, so please replace her life, which she sacrificed, with my life.'
Japanese: やがて挙周の病は全快したが、母の行動を伝え聞いた挙周は同じように住吉神社に赴き、「母が死んでは生きてはいけないので、母が捧げた命は自分の命で補ってほしい」と祈ったという。
English: In addition to being recorded in "Akazomeemon Shu" (an anthology by Akazomeemon) and "Konjaku Monogatari Shu" (The Tale of Times Now Past) Vol. 24, the above anecdote was also recorded in collections of anecdotes such as "Jikkinsho" (Miscellany of Ten Maxims) Vol. 10 and "Kokon Chomonju" (A Collection of Tales Heard, Past and Present) Vol. 5 and circulated widely.
Japanese: 以上の説話は『赤染衛門集』、『今昔物語集』巻第二十四に収められるほか、『十訓抄』巻十、『古今著聞集』巻五などの説話集にもとられて広く流布した。
English: OE no Koremitsu (1110 - February 17, 1175) was a court noble in the Heian period.
Japanese: 大江維光（おおえのこれみつ、天仁3年（1110年）-承安(日本)5年1月18日(旧暦)（1175年2月17日））は平安時代の貴族。
English: Ujitomo was adopted by Mitsutomo YUKI, the fifth head of the clan, his real father being Suketomo NASU, the son of Sukeyuki NASU (the head of the Kaminasu clan).
Japanese: 第5代当主結城満朝の養子で実父は那須資朝（上那須氏当主那須資之の子）。
English: Consequently, Ujitomo sided with Norizane UESUGI in the Eikyo War, opposing Mochiuji ASHIKAGA, the then "Kamakura-kubo" (Governor-general of the Kanto region).
Japanese: それゆえ永享の乱においては上杉憲実に味方し鎌倉公方足利持氏と敵対した。
English: Tomotaka TASAKA (April 14, 1902 - October 17, 1974) was a Japanese film director.
Japanese: 田坂具隆（たさかともたか、1902年4月14日-1974年10月17日）は日本の映画監督。
English: Tasaka was born in the Seto Inlands Sea fishing village of Nutahigashi Village in Toyota-gun, Hiroshima Prefecture (modern-day Nutahigahi-cho, Mihara City).
Japanese: 瀬戸内海に面した漁村、広島県豊田郡沼田東村（現在の三原市沼田東町）に生まれた。
English: When he was older he entered the Daisan Koto Gakko (former Third High School; now Kyoto University) but had to withdraw when his father's business failed.
Japanese: 長じて第三高等学校(旧制)（現在の京都大学）に進学するが、父の事業の失敗で中途退学。
English: Tasaka took this as an opportunity to join Nikkatsu Daishogun Studios in 1924 despite opposition from his strict father.
Japanese: これを機に厳格な父の反対を押し切って1924年、日活大将軍撮影所へ入社。
English: He became an assistant director and worked under directors including Frank TOKUNAGA, Genjiro MIMURA, Minoru MURATA, Kenji MIZOGUCHI, and Kensaku SUZUKI before being promoted to director after only three years.
Japanese: 助監督となり、徳永フランク、三村源治郎、村田実、溝口健二、鈴木謙作らにつき、3年目には早くも監督に昇進した。
English: After making his directorial debut with "Kabocha Sodoki" (literally, pumpkin fuss), he released renowned works in a number of genres including "Jonetsu no Fuchin" (Rise and Fall of Love), "Orishan no kyoji" (The Gallant Child of Orishan), "Kankanmushi wa Utau" (lit. "The Rust Chipper Sings"), "Kono Haha wo Miyo" (Behold This Mother), and "Haru to Musume" (Spring and A Girl).
Japanese: 『かぼちゃ騒動記』で監督デビュー後、『情熱の浮沈』、『阿里山の侠児』、『かんかん虫は唄う』、『この母を見よ』、『春と娘』など、様々なジャンルの佳作を発表する。
English: These works led to the expectation that he would become an expert director of intelligent melodrama in the silent film era of the early Showa period.
Japanese: これにより昭和初期のサイレント映画時代に於いてスマートなメロドラマの名手として将来を期待されるに至る。
English: Tasaka came to the fore with his major hit "Kokoro no Jitsugetsu" (Heart of Reality) starring Takako IRIE, and he came to make films according to his own plans.
Japanese: 入江たか子主演の『心の日月』の大ヒットで一線に立ち、自分の企画で映画を作れるようになった。
English: In 1932, a dispute with Nikkatsu Uzumasa Studios caused Tasaka, Tomu UCHIDA, Daisuke ITO (a director), Minoru MURATA and others to form 'the Nananin-gumi' (lit. "Group of Seven"); becoming independent from Nikkatsu and establishing a new film company but this was dissolved.
Japanese: 1932年、日活太秦撮影所の争議で内田吐夢、伊藤大輔(映画監督)、村田実らと「七人組」を結成し日活から独立、新映画社を興すが解散。
English: Tomotaka's success with "Tsuki Yorino Shisha" (A Messenger from the Moon) and "Meiji Ichidai Onna" (The Life of A Woman in The Meiji period) for Shinko Kinema allowed Tasaka to return to Nikkatsu Tama-gawa Studios.
Japanese: 新興キネマを経て『月よりの使者』、『明治一代女』のヒットで日活多摩川撮影所に復帰した。
English: His second Yamamoto adaptation "Robo no Ishi" (The Wayside Pebble) became Tasaka's representative masterpiece reflecting his sincere personality brimming with humanism.
Japanese: 同じ山本原作『路傍の石』の二作品は、ヒューマニズムに貫かれた田坂の誠実な人柄を反映した代表的傑作となった。
English: In his war films "Gonin no Sekkohei" (Five Scouts) and "Tsuchi to Heitai" (Mud and Soldiers), he did not forget to show cast a positive light on the humanity of fighting soldiers.
Japanese: また戦争映画の『五人の斥候兵』、『土と兵隊』では、戦う兵隊の人間らしさの表現に、暖かい眼を注ぐことを忘れなかった。
English: "Gonin no Sekkohei" won the Italian Popular Culture Ministry Award at the sixth Venice International Film Festival held in 1938.
Japanese: 『五人の斥候兵』は第6回ヴェネチア国際映画祭（1938年）でイタリア民衆文化大臣賞を受賞。
English: "Tsuchi to Heitai" won the Best Japanese Movie Award in the Seventh Venice International Film Festival in 1939.
Japanese: 翌年、『土と兵隊』が第7回ヴェネチア国際映画祭（1939年）で日本映画総合賞を受賞している。
English: "Gonin no Sekkohei" was the first Japanese film to be awarded prizes a three of the worlds major film festivals.
Japanese: なお、この『五人の斥候兵』は日本映画界初の世界三大映画祭受賞作品である。
English: During the Pacific War, Tasaka shot films which in conformed to national policy including "Kaigun" (Navy) based on a novel by Toyoo IWATA (Bunroku SHISHI) and "Hisshoka" (Song of Victory).
Japanese: 太平洋戦争中は岩田豊雄（獅子文六）原作『海軍(映画)』や『必勝歌』など国策に順応した映画も撮影した。
English: Tasaka was drafted in 1945, the final year of the war, and while stationed in his hometown of Hiroshima with his unit, he was in the vicinity when the atomic bomb was dropped in August.
Japanese: 1945年、終戦の年に召集され8月、郷里広島の部隊で原子爆弾に遭う。
English: Being in the toilet afforded him some protection but he developed radiation sickness and after the war spent a long time undergoing medical treatment.
Japanese: トイレに入っていて助かったが、原爆症を発症し戦後は長い闘病生活を送った。
English: After a four year struggle against the disease, he made a brief recovery and joined Daiei Tokyo Studios where he made a comeback with "Doburoku no Tatsu" (Tatsu The Drunkard) which gained attention for the actor Ryutaro TATSUMI's first film appearance.
Japanese: 闘病生活4年、一時回復し大映東京撮影所に入り、辰巳柳太郎の映画初出演が話題となった『どぶろくの辰』で復帰。
English: Returning to his former humanitarian path, Tasaka released the family drama masterpiece "Yukiwariso" (Hepatica), and "Nagasaki no Uta wa Wasureji" (I'll Never Forget the Song of Nagasaki) into which he incorporated his own experiences as an atomic bomb victim to raise the issue of the atomic bomb.
Japanese: 旧来の人道主義路線に戻り、ホームドラマの傑作『雪割草』、自身が被爆者であることの思いを込めて原爆を扱った『長崎の歌は忘れじ』を発表した。
English: In the belief that 'nobody could comprehend the horror of the atomic bomb even if were to describe it,' he rarely spoke of his atomic bomb experience.
Japanese: 「原爆のすごさは語っても分かってもらえない」と、ほとんど原爆体験について話すことはなかった。
English: In "Ubaguruma" (Baby Carriage), "Hi no Ataru Sakamichi" (The Sunny Slope) and "Wakai Kawa no Nagare" (The Stream of Youth), he brought out a new side to Yujiro ISHIHARA that was different from that exhibited in taiyozoku (juvenile delinquency-themed films) and action films.
Japanese: 『乳母車(映画)』『陽のあたる坂道(小説)』『若い川の流れ』では太陽族映画やアクション映画とは違う石原裕次郎の新しい一面を引き出した。
English: In 1960, he transferred to Toei at the company's invitation and brought out the charm of Kinnosuke YOROZUYA in "Shinran" and "Chiisakobe" (A Carpenter and Children) which, although period films, did not include any fighting scenes.
Japanese: 1960年招かれて東映に移籍、『親鸞』『ちいさこべ』では時代劇ながら立ち回り抜きで萬屋錦之介の魅力を存分に引き出した。
English: Tasaka skillfully awakened Yoshiko SAKUMA to acting in "Goban-cho Yugiri-ro" (Evening Mist Tower of the Fifth Town) and "Mizuumi no Koto" (The Strings Cleansed at the Lake), and similarly awakened Yoshiko MITA to acting in "Same" (The Shark) and "Hiyameshi to Osan to Chan" (Cold Rice, Osan, Chan) in which she co-starred with Kinnosuke NAKAMURA.
Japanese: そして、佐久間良子を『五番町夕霧楼』『湖の琴』で、三田佳子を中村錦之助とのW主演作『鮫』『冷飯とおさんとちゃん』で見事に演技開眼させる。
English: These two actresses were entrusted to Takasa by Toei which had previously focused on male performers, and he worked with them prolifically in his later years.
Japanese: この2人は男優中心だった東映で会社から託された女優で、彼の晩年を飾る仕事だった。
English: Takasa was a friendly person and had close relationships with a narrow circle of acquaintances including his old screenwriter Kajiro YAMAMOTO and cinematographer Saburo ISAYAMA.
Japanese: 友情に厚く、初期の脚本・山本嘉次郎や撮影・伊佐山三郎など限られた仲間と深い繋がりを持った。
English: Yoji YAMADA said "Robo no Ishi" (directed by Tasaka) motivated him to become a movie director when he watched it during his elementary school days at a theater in Hoten, China.
Japanese: 山田洋次が映画作家を志す切っかけとなった映画として、奉天の小学校時代に見た田坂の『路傍の石』を挙げている。
English: The 1951 film "Yukiwariso" depicted a serious family conflict in the style of a light-hearted family drama but it met with mediocre box-office ratings and reviews in Japan.
Japanese: 1951年の『雪割草』は、深刻な家族の葛藤を甘いホームドラマのスタイルで描いた作品だが、日本では興行的にも批評の上でも、ごく凡庸な作品との評価に留まった。
English: However, when the film was introduced to India along with "Rashomon" (Rasho-mon Gate), it gained attention as a picture as excellent as "Rashomon" and spawned many imitations, having a major effect on Indian cinema.
Japanese: しかし『羅生門(映画)』と一緒にインドに紹介されると、いずれ劣らぬ優れた作品として注目され、多くの模倣作を生んでインド映画に強い影響を与えた。
English: It can be said that many of its themes and styles that were seen as mediocre in Japan had a realism that strongly appealed in India.
Japanese: 日本では凡庸と見られた主題とスタイルの多くがインドでは強くアピールする現実性を持っていたともいわれる。
English: When the news of Tasaka's death reached the venue of the International Film Festival of India being held in New Delhi, Indian film personalities offered silent prayer for the spirit of Tasaka in memory of "Yukiwariso."
Japanese: 田坂が亡くなった時、そのニュースがニューデリーで開催中のインド映画祭の会場に届けられると、インドの映画人たちは『雪割草』の思い出のために田坂の霊に黙祷を捧げた。
English: OE no Morogami (birth and death year unknown) was a lower-ranking Court noble living from the late Nara period to the early Heian period.
Japanese: 大枝諸上（おおえのもろがみ、生没年不詳）は奈良時代末期から平安時代初期の下級官人。
English: But "HAJI no Morogami," which appears not only in some "Dai Nihon Komonjo" (Old Documents of Japan) but also in the article (related to the family name conferred by the emperor) of "Shoku Nihongi" (Chronicle of Japan Continued), is supposedly identical to OE no Morogami.
Japanese: しかし、大日本古文書中のいくつかの文書にある「土師諸土」、『続日本紀』賜姓記事にある「土師諸士」はみな同一人物と想定される。
English: Originally he had the family name of "Haji," but in February 11, 791, Emperor Kanmu conferred "Oe no Ason" as the official status title on him, so his family name became Oe.
Japanese: もと土師氏であったが、延暦9年12月30日(旧暦)（791年2月11日）に桓武天皇より「大枝朝臣」のカバネを授かって大枝氏となった。
English: Incidentally, Morogami was conferred the family name of Oe only after SUGAWARA no Manaka and HAJI no Sugamaro, who both belonged to the same clan as Morogami, were conferred Oe no Ason at once, when HAJI no Maimo, the real mother of TAKANO no Niigasa, was raised to Shoichii (Senior First Rank) after her death.
Japanese: なおこれより先高野新笠の実母土師真妹に正一位が追贈された際、同族の菅原真仲と土師菅麻呂が同時に大枝朝臣が授けられているが、諸上への改氏姓はこれに遅れている。
English: "Hongan" (the legal address of the Ritsuryo system (a system of centralized government based on the ritsuryo code)) of Morogami existed in Kawachi Province, but in 796, it was transferred to Ukyo (in Heian-kyo (the ancient capital of Japan in current Kyoto)).
Japanese: 本貫は河内国にあったが、延暦15年（796年）には右京（平安京）に貫付されている。
English: Yuzan DAIDOJI (1639 - 1730) was a samurai and a tactician in the Edo period.
Japanese: 大道寺友山（だいどうじ　ゆうざん、寛永16年（1639年）-享保15年（1730年））は、江戸時代の武士、兵法家。
English: Born in Fushimi, Yamashiro Province, Yuzan had the real name of "Shigesuke" and a common name of "Magokuro" which his legitimate family line's descendants also used as their common name for generations.
Japanese: 山城国伏見の人で、諱を重祐、通称を孫九郎(大道寺氏嫡男代々の通称)と称した。