nntsuzu/KFTT huggingface dataset:
English: The role of Genroku, a hannin (a witness when women are sold to red-light districts) who attends to Osai, was a signature role of Matsunosuke ONOE (the fourth) in the past, and after the war, Koisaburo ONOE (the third) performed it well by creating a stern atmosphere.
Japanese: お才につきそう判人源六は古くは名脇役尾上松助(4代目)の持ち役だったが、戦後は尾上鯉三郎(3代目)が苦み走ったよい感じを出していた。
English: In the meantime, Yuranosuke leads a life of debauchery in Gion as if he has forgotten about the revenge.
Japanese: 一方、由良之助は仇討ちを忘れてしまったかのように祇園で放蕩に明け暮れる。
English: Comrades get angry and tries to slash him, but they get blocked by Heiemon TERASAKA, an ashigaru (common foot soldier) and an older brother of Okaru.
Japanese: 怒った同志は斬ろうとするも、足軽でおかるの兄、寺坂平右衛門に止められる。
English: Heiemon wants to join the comrades, but Yuranosuke evades the issue and says that the revenge is a stupid thing like 'hanging oneself after drinking carrot juice.'
Japanese: 同志に加わりたい平右衛門であるが、由良之助は話をはぐらかして相手にせず、敵討など「人参飲んで首くくるような」馬鹿げたものだと言い放つ。
English: Kudayu, who now sides with the enemy, tries to grasp Yuranosuke's real intention, but Yuranosuke gets away.
Japanese: 敵方に寝返った九太夫が由良之助の真意を探ろうとするが、由良之助はこれをかわす。
English: Kudayu and Moronao's vassal, Bannai, secretly check Yuranosuke's sword, and they find out that it is covered with red rust.
Japanese: 九太夫と師直の家臣、伴内はこっそり由良之助の刀を見るが、真っ赤に錆びついている。
English: Yuranosuke reads the secret letter, but Kudayu, who has been hiding under the floor together, and Okaru steals a glance at the letter.
Japanese: 由良之助は密書を読むが、おかると縁の下に隠れていた九太夫に盗み見されてしまう。
English: Yuranosuke leaves the scene saying he will buy Okaru's freedom from her employer, but in fact, he is planning to kill Okaru because she has come to know the secret, though he feels sorry for her.
Japanese: 由良之助は秘密を知ったおかるを不憫ながらも討とうと、わざと身請けするといって退場。
English: After hearing Yuranosuke's words, Heiemon understands the situation and says, "I see everything and now we come face-to-face with each other. I understand the purpose of buying Okaru's freedom."
Japanese: 由良之助の言葉を聞いて「残らず読んだそのあとで互いに見交わす顔と顔。じゃら、じゃら、じゃらと、じゃらつきだいて身請けの相談。オオ！読めた！」とすべてを察する。
English: Okaru is surprised, and Heiemon tells her about his situation and informs that her father as well as Kanpei are already dead.
Japanese: 驚くおかるに平右衛門は己の事情を話し、父も勘平もこの世にいないことを男泣きに告げる。
English: Okaru tries to commit suicide, but Yuranosuke appears and tells her that he has been living a life of debauchery in order to deceive both the enemy and friends.
Japanese: おかるは自害しようとするが、そこに由良之助が現れ、敵と味方を欺くための放蕩だったと本心を語る。
English: He puts a hand on Okaru's sword and stabs Kudayu, who has been hiding under the floor, saying "This man's son is responsible. Take a revenge for our father and Okaru's husband."
Japanese: おかるの刀に手を添えて、「こやつの息子が殺したようなものだ。父と夫の仇を討て」と床下の九太夫を刺す。
English: Heiemon is deeply moved, and Yuranosuke asks him to deal with Kudayu saying, "Throw him in Kamo-gawa river."
Japanese: 感激する平右衛門に「鴨川で水雑炊をくらわせやい」と九太夫の処置を頼む。
English: "Mitate" is an acting gesture that uses small tools or clothing, pretending that they are something else, with the accompaniment of hayashi (Japanese music played to enliven the mood).
Japanese: 見たてとは、にぎやかな囃子にのって、小道具や衣装ある物に見たてることである。
English: Examples are: "how about umeboshi" while picking Kudayu's head with chopsticks, "how about girichoko" (chocolate given out as a social obligation on valentine's Day) while putting a sake cup (choko) on a saw (nokogiri), and "how about Shibaraku" (title of a drama) while showing a towel and zabuton (Japanese cushion), and they all use puns.
Japanese: 九太夫の頭を箸でつまみ「梅干とはどうじゃいな」酒の猪口（ちょこ）を鋸の上に置き「義理チョコとはどうじゃいな」手ぬぐいと座布団で「暫とはどうじゃいな」といった落ちをつける
English: Playing a "mitate" is an opportunity for them to show their skills and get recognition from high-ranking people.
Japanese: 彼らにとっては幹部に認めてもらう機会であり、腕の見せ所となっている。
English: The scene change from Act Six, in which a tragedy was performed at a dark and poor country house, to the scene of luxurious chaya is very contrasting, and it is an excellent staging method.
Japanese: 六段目で暗く貧しい田舎家での悲劇が演じられた後、一転して華麗な茶屋の場面に転換するその鮮やかさは、優れた作劇法である。
English: The beautiful stage of chaya appears with the accompaniment of lively song "花に遊ばば祇園あたりの色揃え".
Japanese: 序曲というべき「花に遊ばば祇園あたりの色揃え」のにぎやかな唄に始まり、美しい茶屋の舞台が現れる。
English: In the modern day, the best actor who played the role of Yuranosuke, who lives a life of debauchery while harboring an ambition in mind, was Nizaemon KATAOKA the 13th.
Japanese: 心中に抱いた大望を隠し遊興に耽溺する姿は、十三代目片岡仁左衛門が近代随一だった。
English: As he often played at chaya in Gion himself, he could perform according to his true nature.
Japanese: 彼自身祇園の茶屋でよく遊んでいたため、地のままに演じられたのである。
English: Immediately before the ending, Yuranosuke reappears on the stage, wearing a greenish brown costume and saying, "You two, wait, don't be in haste."
Japanese: 幕切れ近く「やれ待て、両人早まるな」の科白で再登場する由良之助は鶯色の衣装である。
English: As the curtain falls, Heiemon carries Kudayu over his shoulder, and Yuranosuke, with Okaru beside him, spreads a Japanese fan gently and caringly, and strike a swaggering pose.
Japanese: 幕切れは、平右衛門が九太夫を担ぎ、由良之助がおかるを傍に添わせて優しく思いやる心根で、扇子を開いて見得を切る。
English: Rakugo "Shichidanme" is a shibai-banashi (rakugo story based on kabuki) in which a servant boy and his young master, who likes kabuki, play the roles of Okaru and Heiemon respectively, in a room on the second floor, then the servant boy falls down the stairs, the young master says, 'Are you all right?' and the servant boy replies, 'I am all right, I only fell down from shichidanme' (seventh step on the stairs).
Japanese: 落語の「七段目」は、芝居好きの若旦那が丁稚と二階の部屋で平右衛門とおかるの件を演じ、丁稚が階段から落ちて「怪我はないか」「なあに、七段目」と下げる芝居噺。
English: Enka SANYUTEI the second, who was good at telling this story, used the starting music of Act Seven for his debayashi (stage music for rakugo).
Japanese: これを得意とした二代目三遊亭円歌は、出囃子も七段目幕開きの音楽だった。
English: This section depicts the scene in which Tonose KAKOGAWA and her daughter Konami travel the Tokai-do road to Yamashina with a resolution in their minds.
Japanese: 加古川戸無瀬・小波の母娘が、ある決意を胸に二人きりで山科へと東海道を上る様子を所作事で描く。
English: The set (scenery) is frequently changed according to the itinerary of the trip, and yakko (varlet) are also involved.
Japanese: 道具（背景）も旅程に合せて次々転換させたり、奴をからませるなどの演出がある。
English: Famous places and historic scenes on the Tokai-do road are also incorporated into joruri, which expresses the lilting air of the mother and the daughter who are traveling to the see the daughter's husband-to-be.
Japanese: 浄瑠璃の言葉も東海道の名所旧跡を織り込んで、許婚のもとに急ぐ親子の浮き浮きした気分を表す。
English: It is also amusing that a sexual conduct is expressed like a Buddhist sutra, as '紫色雁高我開令入給.'
Japanese: また「紫色雁高我開令入給」という性行為を経文のように表しているのも御愛嬌である。
English: This is the most light-hearted scene in the entire act, in which a high-ranking onnagata (actor playing female roles) and a young onnagata play together, and it presents a strong contrast to the tragedy depicted in Act Nine.
Japanese: 幹部級の女形と若手女形が共演する全段中最も明るい場面で、これが九段目の悲劇と好対照をなす。
English: Utaemon NAKAMURA (the sixth) said, 'Keep in mind that the road trip in Act Eight should be performed like a dance that leads into Act Nine.'
Japanese: 「八段目の道行は、九段目に続ける気持で踊れ」とは中村歌右衛門(6代目)の言葉である。
English: Konami and her mother, Tonose, come to Yamashina and ask for marriage, but Rikiya's mother Oishi refuses, because Konami is a daughter of Honzo, a person who stopped Hangan.
Japanese: 小浪とその母戸無瀬が山科の閑居に来て、結婚を願うが、力弥の母お石に判官を止めた本蔵の娘は嫁にできぬと断られる。
English: Oishi puts a small sword on sanpo (a stand) and says, "I'll allow the marriage after seeing Honzo's white-haired head. What do you say, yes or no."
Japanese: お石は三宝に小刀を乗せ「本蔵の白髪首見た上で盃さしょう。サア、いやか、応か」と迫る。
English: Honzo, disguised as a komuso (begging Zen priest), appears saying, "I will give you the head of Honzo KAKOGAWA," makes derogatory comments on Yuranosuke and his son, and he squabbles with Oishi.
Japanese: そこに「加古川本蔵の首進上申す」と、虚無僧に変装した本蔵が現れ、由良之助父子の悪態をついてお石と争いになる。
English: Yuranosuke appears and says, "It has been a long time, Honzo. You might be happy since you are going to be killed by Rikiya, your son-in-law, just as your planned."
Japanese: そこに由良之助が現れ,「一別以来珍しし、本蔵殿、御計略の念願とどき、婿力弥の手にかかって、さぞ本望でござろうの」と言う。
English: In his last moment, Honzo appreciates Yuranosuke's resolution, asks Yuranosuke to marry Konami, and hands over the drawing of Moronao's residence saying, "This is a gift to my son-in-law."
Japanese: 覚悟のほどを示す感謝した本蔵は、死に際、由良之助に小浪を嫁にと頼み、「婿へのお引きの目録」と称して師直邸の絵図面を渡す。
English: Honzo dies laughing, "Good, good, ha, ha, ha..."
Japanese: 本蔵は「ハハア、したり、したり、アハハハハ」と手負いの笑いを浮かべ死んで行く。
English: Rikiya and Konami became husband and wife and they spend a night together, then Rikiya departs for the revenge.
Japanese: 力弥と小浪は夫婦になり、一夜の契りを交わして、力弥は討ち入りのため出立する。
English: The highlight of this section is the heated exchange of words between Honzo and Yuranosuke as well as between Tonose and Oishi.
Japanese: 本蔵と由良之助、戸無瀬とお石との火花を散らす芸の応酬がみものである。
English: It is said that Nizaemon KATAOKA (the 11th) played the role of Honzo well, and Hakuho MATSUMOTO (the first) and Enjaku Jitsukawa the second played the role of Yuranosuke well.
Japanese: 本蔵は片岡仁左衛門(11代目)、由良之助は松本白鸚(初代)、二代目實川延若がよかったといわれている。
English: Among the actors of post-war period, Utaemon NAKAMURA the sixth, who played the role of Tonose, and Baiko ONOE (the seventh), who played Oishi, were superb.
Japanese: 戦後は六代目中村歌右衛門の戸無瀬、尾上梅幸(7代目)のお石が素晴らしかった。
English: The name of Yuranosuke's wife, "Oishi," refers to an actual person, "Kuranosuke OISHI," and Honzo's "Asaki takumi no Enya-dono" is also derived from an actual person "Takuminokami ASANO," and "En" (salt), a local product in Ako.
Japanese: 由良之助の妻「お石」は実際の「大石内蔵助」を指し、本蔵の「浅き巧の塩谷殿」は実際の「浅野内匠頭」と、赤穂の名産「塩」を利かせている。
English: In "Act Nine" performed in the afternoon show at Osaka Shochiku-za theater in January 2007, Danjuro ICHIKAWA (the 12th) played the role of Yuranosuke and Tojuro SAKATA the fourth played the role of Tonose.
Japanese: 2007年1月、大阪松竹座午後の部の「九段目」では、市川團十郎(12代目)の由良之助に、四代目坂田籐十郎の戸無瀬であった。
English: Along with "Kanjincho" performed in the morning, it was the first-ever joint appearance by Danjuro and Tojuro.
Japanese: 午前の部の『勧進帳』とともに、團十郎、藤十郎の史上はじめての共演が実現した。
English: Nizaemon KATAOKA, who often played the roles of Honzo and Yuranosuke, favored Act Nine, and he appreciated the sense of color as follows.
Japanese: 本蔵や由良之助をよく演じた十三代目片岡仁左衛門は九段目がとても気に入っており、次のように、色彩感覚の見事さを評している。
English: "The real beauty of the play is in Act Nine. Tonose wears a hirinzu (scarlet figured-satin), Konami wears a shiromuku (white kimono), Oishi wears a grey costume in the first half and a black costume in the latter half, Yuranosuke wears a brown kimono and a pair of black hakama with green bamboo patters, Honzo wears a brown komuso costume, Rikiya wears a kihachijo (high-quality yellow silk) in Tokyo and montsuki (formal dress with family crest) of two comma designs in Kamigata. Various colors are used and they make perfect sense."
Japanese: 「本当の美しさ、劇の美しさは九段目やね。…ここに出てくる人間が、まず戸無瀬が緋綸子、小浪が白無垢、お石が前半ねずみで後半が黒、由良之助は茶色の着付に黒の上で青竹の袴、…本蔵は渋い茶系の虚無僧姿、力弥は東京のは黄八丈で、上方だと紫の双ツ巴の紋付…みんなの衣装の取り合わせが、色彩的に行ってもこれほど理に叶ったものはないですわな」
English: Though it is never performed nowadays, there is a scene at the beginning of this act, which is called 'Yuki kokashi,' (rolling snow) in which Yuranosuke appears together with a nakai and a hokan while rolling a big snow ball.
Japanese: 現在は全く上演されないが、幕あきに由良之助が仲居幇間をつれて大きな雪玉をころがして出てくる「雪こかし」という端場がある。
English: This is a tasteful scene in which Yuranosuke comes home in the morning, and this snow ball becomes the grave made of snow, which Yuranosuke shows to Honzo in the later part of this act in order to express his determination.
Japanese: 雪中の朝帰りという風情のあるもので、のちこの雪玉が後半部由良之助が本蔵に覚悟のほどを見せる雪製の墓になる。
English: When Tonose and her daughter visit Oboshi's house, a maid servant Rin answers, and she makes the audience laugh with a silly, comical conversation.
Japanese: 戸無瀬親子が大星宅を訪れる時、下女りんが応対しとんちんかんなやりとりで観客を笑わせる。
English: Like Yodarekuri of "Terakoya" and Omura TOFUKAI of "Goten," dokekata (clown) characters sometimes appear in tragic dramas of maruhonmono (kabuki drama of joruri origin).
Japanese: 「寺子屋」の涎くり、「御殿」の豆腐買おむらのように、丸本物の悲劇には道外方が活躍する場面がある。
English: Pursuers come to the store of Gihei AMAKAWAYA, who is preparing arms for the raid, and they press him to confess the plan of the raid.
Japanese: 討ち入りの武器を調達していた天川屋義平の店に捕手が来て、討ち入りの計画を白状しろと迫る。
English: The line, "Gihei AMAKAWAYA is a man," is famous, and this scene was often performed during the pre-war period.
Japanese: 「天川屋義平は男でござる」の名科白が有名で、戦前まで比較的よく上演されていた。
English: However, it is seldom performed nowadays, as this scene can no longer evoke sympathy in the audience because its content is outmoded.
Japanese: しかし、現在では内容が古すぎて観客の共感を呼べず、あまり上演することがない。
English: After the war, this scene was performed only by Eno ICHIKAWA, Mitsugoro BANDO (the eighth) and Tomijuro NAKAMURA (the fifth) in December 1986.
Japanese: 戦後も市川猿翁、坂東三津五郎(8代目)、1986年（昭和61年）12月の通しで、中村富十郎(5代目)が演じたくらいである。
English: However, under any circumstances the core of the story is the scene in which Yuranosuke and other loyal vassals successfully kill Moronao.
Japanese: 但し、いかなる場合でも物語の芯になるのは、由良之助ら義士が師直を討ち取るという物語である。
English: Hangan's vassals including Yuranosuke and Rikiya divide into two groups, namely those for the front gate and those for the back gate, and they raid Moronao's residence.
Japanese: 由良之助、力弥ら判官の家臣たちは表門と裏門に分かれて師直邸へ討ち入る。
English: Amid a large-scale stage fight, Rikiya and Shinzaemon KATSUTA fight against Moronao's son Moroyasu KO and Heihachiro KOBAYASHI, respectively.
Japanese: 大立ち回りが演じられ、力弥が師直の子高師泰と、勝田新左衛門が小林平八郎と斬り結ぶ。
English: The performance of this play was repeatedly banned because the Genroku Ako Incident was a scandal in samurai society, and showing of this play could imply, depending on how it was performed, criticism against the shogunate administration.
Japanese: この元禄赤穂事件は、武家社会のスキャンダルであり、やり方によっては幕政批判に通じかねないことから、上演は繰り返し弾圧されてきた。
English: Nearly 50 years passed before showing of this play was regarded as harmless.
Japanese: 50年近くも経ってようやく上演されても無害と考えられるようになったのである。
English: After World War Ⅱ, the occupation forces banned everything which was linked to militarism.
Japanese: 第二次世界大戦後の占領軍は、軍国主義につながるものすべてを禁止していった。
English: Because Kabuki was regarded as a medium for promoting the philosophy of loyalty (which leads to patriotism), it was severely suppressed.
Japanese: 歌舞伎は忠義（愛国につながる）という理念の宣伝媒体だったといわれ、最も強硬に弾圧されていった。
English: The person who gradually lifted the ban was Army Major Faubion Bowers, an adjutant to the Supreme Commander of General Headquarters.
Japanese: その禁を少しずつ解いていったのが、連合国軍最高司令官総司令部総司令官の副官フォービアン・バワーズ陸軍少佐である。
English: According to Bowers, he has spent some time in Japan before the war started, and he was very fond of kabuki.
Japanese: バワーズ自身の述懐によると、少佐は、交戦前に日本滞在の経験があり、実は大の歌舞伎好き、見巧者だった。
English: As he was aware that the basis of kabuki was a human drama rather than dangerous militarism, he reduced the number of prohibited programs one after another.
Japanese: 彼は歌舞伎の根底に流れているのが危険な軍国主義ではなく人間のドラマであることを知っていたので、次々に禁止演目を縮小していった。
English: The major informed Takejiro OTANI of Shochiku that he would permit the staging of Chushingura if the following condition was met.
Japanese: 少佐は、松竹・大谷竹次郎に対して、以下の条件を満たせば忠臣蔵の上演が許可されると告げた。
English: The condition was to use the best kabuki actors at the time, including Takasagoya (Baigyoku NAKAMURA the third) of Kansai kabuki.
Japanese: それは現在の歌舞伎界で最高の役者たちを揃えること,その中に関西歌舞伎の高砂屋（三代目中村梅玉）を加えることであった。
English: Along with Shinkomaya (Kaisha NAKAMURA, killed in an air-raid), Takasagoya was a great onnagata who had supported Kansai kabuki, and he was famous for his excellent skills among kabuki fans in Kanto.
Japanese: 高砂屋こそ、新駒屋（中村魁車、戦災で死亡）とともに関西歌舞伎を支えてきた名女形であり、関東の好劇家のなかでその実力の高さが密かに話題になっていた名優だったのである。
English: Casting of other actors, which the major effectively instructed himself, was as follows.
Japanese: その他の全ての配役も、少佐自身が事実上の指令として出したもので、次の通りだった。
English: This can be considered as the best casting at the time, and this indicates that Bowers had a good eye for kabuki.
Japanese: これは当時考えられる最高の配役といえるもので、バワーズは非常に肥えた眼を持っていたことになる。
English: "Kanadehon Chushingura" was presented in November 1947 at Togeki Theater, since Kabuki-za Theater and Shinbashi Enbujo Theater were burnt down during the war.
Japanese: 上演は1947年11月だったが、戦災で歌舞伎座や新橋演舞場などほとんどの劇場を焼失していたため、東劇が用いられた。
English: Dickins, Frederick Victor, Chiushingura - or the Loyal League, Yokohama, 1874–75.
Japanese: Dickins,FrederickVictor,Chiushingura-ortheLoyalLeague,Yokohama,1874–75.
English: Dickins, Chiushingura - or the Loyal League, London, 1875.
Japanese: Dickins,Chiushingura-ortheLoyalLeague,London,1875.
English: Masefield, John, The Faithful, London, 1915.
Japanese: Masefield,John,TheFaithful,London,1915.
English: Masefield changed the cause of ninjo (sword-drawing) from a love affair to Kira's plot to takeover Asano's territory in an attempt to expand his domain territory.
Japanese: マンスフィールドは、刃傷の原因を色恋沙汰ではなく、吉良が藩領拡張を画策して浅野の領地を狙ったからと書き替えている。
English: Both Samon YOTSUYA and Iemon were vassals of the Enya family, and after their master's family was abolished they did every evil thing imaginable, such as begging, murder and rape.
Japanese: 四谷左門も伊右衛門も塩治家家臣で、お家が取り潰された後食い詰めて、物乞い・殺人・強姦など非道を尽くす。
English: A bloodthirsty killer Gengobei is actually Kazuemon FUWA, and at the end, he returns to being a loyal vassal immediately after he receives an invitation to participate in the raid.
Japanese: 猟奇殺人鬼の源五兵衛は実は不破数右衛門その人で、最後に討ち入りの迎えが来るや即座に忠義に生きる義士にもどる。
English: It is about conversations between lord Matsuura, who is expecting a raid, and Kikaku TAKARAI and Gengo OTAKA, with whom Matsuura is acquainted through Haiku.
Japanese: 討ち入りを待ち望む松浦侯と、俳句を通じて交流がある宝井其角・大高源吾などの絡み。
English: In Rakugo, "Kanadehon Chushingura" is sometimes used as a material for kusuguri (making the audience laugh) or ochi (the punch line of a joke) in the traditional art of kusuguri Rakugo.
Japanese: 落語では、仮名手本忠臣蔵がくすぐり伝統芸能のくすぐり、落ちとして使われることもある。
English: Its sage is the scene in which Rihei AMANOYA (Gihei AMAKAWAYA), who was mistaken for a woman, says "Rihei AMANOYA (Gihei AMAKAWAYA) is a man."
Japanese: 女と間違えられた天野屋利兵衛（天川屋義平）が、「天野屋利兵衛（天川屋義平）は男でござる」と言うサゲ。
English: Its direct source is believed to be rokyoku (naniwabushi, storytelling with shamisen accompaniment) "Gishiden," which is based on "Chushingura," and some parts of the song are sung in rokyoku-style, even though the song is categorized as a folk song.
Japanese: 『忠臣蔵』を元とした浪曲『義士伝』が直接の参照元といわれ、俗曲に分類される曲でありながら、浪曲的な歌い方をする個所がある。
English: The words of the song vary depending on different schools, but the contents are basically the same, and therefore an example is given below.
Japanese: 歌詞については流派により異なるが、内容としてはほぼ同じなため、以下に歌詞の一例をあげる。
English: Gengo OTAKA sells bamboo grass on the bridge and waits for the day of a raid.
Japanese: 笹や　笹笹　笹や笹　笹はいらぬかすす竹を　大高源吾は橋の上　あした待たるる宝船
English: Wearing a red raincoat and manjukasa (knitted straw rain hat) in the snow, Genzo AKAGAKI walks drunkenly and drowns his leave-taking in drink.
Japanese: 赤の合羽に饅頭笠　降りくる雪もいとわずに　赤垣源蔵は千鳥足　酒にまぎらすいとま乞い
English: While being in agony at Nanbuzaka, Oishi also took leave with his heart hardened and says in the snow "Come, Terasaka".
Japanese: 胸に血を吐く　南部坂　忠義にあつき大石も　心を鬼にいとま乞い　寺坂来たれと雪の中
English: It is characterized as black-tone tetsuyu (glaze containing iron) and its simple and delicate style embodies a sprit of 'Kirei sabi' (rich beauty and refined simplicity), which Enshu held up.
Japanese: 黒味を帯びた鉄釉が特色で、素朴でありながら繊細な意匠は遠州が掲げた「きれいさび」の精神が息づいている。
English: With guidance from Enshu, Zeze-yaki Pottery earned a reputation and its chaire (tea container), mizusashi (water jug), and so on were appreciated as gifts for feudal lords.
Japanese: そこで、遠州の指導を受けた膳所焼は評判を上げ、茶入や水指などは諸大名らの贈答品として重宝された。
English: In the late Edo period, a merchant family 'Odawara-ya store' started a kiln of 'Bairin-yaki ware' but it was completely different from old Zeze-yaki Pottery.
Japanese: 江戸後期には商家、「小田原屋」が梅林焼という窯を興したが、それまでの膳所焼とは懸け離れたものであった。
English: In 1919, a local man Kenzo IWASAKI, who felt sorry for the extinction of Zeze-yaki Pottery built a nobori-gama (a stepped kiln) in his second residence, together with his friend and master painter Shunkyo YAMAMOTO, and reestablished the pottery.
Japanese: 大正8年に膳所焼の廃絶を惜しんだ地元の岩崎健三が、友人の画伯、山本春挙と手を組んで別邸に登り窯を築き、再興。
English: Now people can see past works and buy present works at the Zeze-yaki Museum.
Japanese: 現在は膳所焼美術館にて過去の作品を閲覧、現在の作品を買うことができる。
English: However, although the piece takes the form of a haru no monogurui (spring craze piece), it depicts the grief of a mother who has her only child, Umewakamaru, kidnapped by a human traficker and travels from Kyoto to Sumida-gara River in Musashi Province, only to discover the death of her beloved son.
Japanese: ところがこの曲は春の物狂いの形をとりながら、一粒種である梅若丸を人買いにさらわれ、京都から武蔵国の隅田川まで流浪し、愛児の死を知った母親の悲嘆を描く。
English: The piece is performed by various schools, but different kanji characters are used (角田川) for the title when performed by the Konparu-ryu school.
Japanese: 各流派で演じられるが、金春流で演じられる時は、『角田川』（すみだがわ）のタイトルになる。
English: The ferryman appears on stage announcing the final ferry service and saying that many will be gathering today for the mass prayer.
Japanese: 渡し守が、これで最終便だ今日は大念仏があるから人が沢山集まるといいながら登場。
English: Wakizure performs a travel dance and says to the ferryman, 'I saw an interesting kyojo from Kyoto so let's wait for her.'
Japanese: ワキヅレの道行きがあり、渡し守と「都から来たやけに面白い狂女を見たからそれを待とう」と話しあう。
English: After a shout, the kyojo appears grieving over the loss of her child and dances the kakeri (a very active piece depicting madness).
Japanese: 次いで一声があり、狂女が子を失った事を嘆きながら現れ、カケリを舞う。
English: After the travel dance, the kyojo converses with the ferryman but sadly, the ferryman mocks her, saying "show me some good insanity, if you don't I will not carry you on the boat."
Japanese: 道行きの後、渡し守と問答するが哀れにも『面白う狂うて見せよ、狂うて見せずばこの船には乗せまいぞとよ』と虐められる。
English: The kyojo remembers Narihira's poem, "If you are true to your name..." and replaces the lover in the poem with her own child, wailing incessantly while pointing at a black-headed gull (actually a seagull).
Japanese: 狂女は業平の『名にし負はば...』の歌を思い出し、歌の中の恋人をわが子で置き換え、都鳥（実は鴎）を指して嘆く事しきりである。
English: There was a child from Kyoto who had been kidnapped by a humal trafficker and died there, after falling ill and being abandoned.
Japanese: 京都から人買いにさらわれてきた子供がおり、病気になってこの地に捨てられ死んだ。
English: I was walking with Father and Mother but Father went on ahead, and I was kidnapped while I was just with Mother.'
Japanese: 「父母と歩いていたら、父が先に行ってしまい、母親一人になったところを攫われた。」
English: I'm not going to make it, please make a mound at the side of this road where people from Kyoto must walk by, and bury me in it.'
Japanese: 「自分はもう駄目だから、京都の人も歩くだろうこの道の脇に塚を作って埋めて欲しい。」
English: Hearing this very sad story the villagers built the mound and planted a willow tree, and decided to chant some prayers on this first death anniversary.
Japanese: 里人は余りにも哀れな物語に、塚を作り、柳を植え、一年目の今日、一周忌の念仏を唱えることにした。
English: It is believed to be a work by Zeami, who was so proud of this piece that he praised it as a work of the finest quality in Zeshi Rokuju Igo Sarugaku Dangi (Zeami's Reflections on Noh).
Japanese: 世阿弥作と考えられ、世阿弥自身が世子六十以後申楽談儀でこの曲を「上花也」（最上級の作品である）と自賛するほどの自信作であった。
English: A characteristic of the piece is that the female Shite (main character) which is often played by a man is further dressed up as a man.
Japanese: 多くの場合男性が女装して演ずるシテの女が、更に男装するのも特徴である。
English: It depicts the relationship of ARIWARA no Narihara and the daughter of KI no Arutsune who were childhood friends, with the spirit of the daughter of KI no Aritsune, also called 'the woman of the Izutsu,' as the main character.
Japanese: 幼馴染の在原業平と紀有常女との間の情を、「井筒の女」と呼ばれた紀有常女の霊を主人公にして描く。
English: The monk is visiting various provinces while practicing asceticism, and on the way has come by Ariwara-dera Temple in Isonokami, Yamato Province (present Tenri City, Nara Prefecture).
Japanese: 僧は諸国を修行しながら見物しており、その途中、大和国石上(いそのかみ，現在の奈良県天理市)にある在原寺に立ち寄った。
English: This was where ARIWARA no Narihira and his wife used to live, but now there is no trace of those times.
Japanese: そこは昔、在原業平とその妻が住んでいた所だったが、今はもうその面影は無かった。
English: Ariwara-dera Temple has already fallen into ruins and a bunch of Japanese pampas grass is growing from the izutsu, a vestige of Narihira and his wife's relationship.
Japanese: 在原寺はすでに廃寺になっており、業平とその妻との名残の井筒からも一叢のすすきがのびていた。
English: While the monk is performing a Buddhist rite for Narihira and his wife, a village woman (actually the spirit of Narihira's wife) appears accompanied by a shidai (musical accompaniment performed by the hayashi [musical ensemble] used for the entrance of characters) and offers flowers and water to Narihira's barrow.
Japanese: 僧が業平夫婦を弔っていると、次第の囃子に乗り、里の女(実は業平の妻の霊)が現れ、業平の古塚に花水を手向ける。