nntsuzu/KFTT huggingface dataset:
English: Just like controlling a horse to prevent it from moving on its own, move the brush as if pulling the leather strip.
Japanese: 勝手に動かないように制御する意味で、馬の革紐を引き締めるように書く。
English: Its tsukuri (right half of a character) is made up with '羽' (hane, feather) and '隹' (tori, bird) and means the outstanding tail of a 雉 (kiji, pheasant).
Japanese: 旁（つくり；漢字の右半分）は「羽」と「隹」（ふるとり）から成り、高く抜きんでた雉（キジ）の尾。
English: Its ashi (lower half of a character) is 'セキ' (se ki) which is a hieroglyph expressing a branch with prickles.
Japanese: 脚（あし；漢字の下半分）は「セキ」で「とげの出た枝」を描いた象形文字。
English: 磔' (taku) means 'crucifixion', but also means 'tear up and open internal organs'.
Japanese: 「磔」は磔刑といえば「はりつけ」のことだが、「引き裂いて内臓を開く」意味もある。
English: Unlike '掠' (ryaku) which is hidari harai, as if a sword tears up flesh and reaches bones, move the brush steadily rightward with stress and especially draw a triangle at the end with more pressure than '掠'.
Japanese: 左への払い（掠）と異なり、肉を引き裂いて、金刀が骨まで達するように、力を入れてじっくりと右に払い、特に払い終わりは「掠」よりも力を入れて三角形を作る。
English: It is said that MINAMOTO no Yorimitsu who is a direct descendant of the Seiwa-Genji (Minamoto clan) cut off with this sword the head of Shuten Doji, a devil who lived in Mt. Oe in Tanba Province.
Japanese: 清和源氏の嫡流である源頼光は、丹波国大江山に住み着いた鬼、酒呑童子の首をこの刀で切り落としたという。
English: Later, it was inherited from Ashikaga Shogun Family to Hideyoshi TOYOTOMI, Ieyasu TOKUNAGA, Hidetada TOKUGAWA, Tadanao MATSUDAIRA (husband of a daughter of Hidetada), and then from Takada Domain of Matsudaira Family in Echizen Province to Tsuyama Domain.
Japanese: 後に足利将軍家から豊臣秀吉、徳川家康、徳川秀忠、松平忠直（秀忠娘婿）に継承され、越前松平家の高田藩から津山藩に継承された。
English: Matsudaira Family of Tsuyama Domain passed down the three noted swords of Dojigiri, Inabago and ISHIDA Masamune as family treasures.
Japanese: 津山松平家では、この童子切と稲葉郷、石田正宗の3振の名刀を家宝として伝えた。
English: Speaking of the sharpness of the sword, a legend says that when a master of trial cutting called Chodayu MACHIDA in the Edo period brought down Dojigiri Yasutsuna onto the dead bodies of six criminals stacked one on top of another, it not only cut through the six bodies, but its blade reached the ground.
Japanese: 切れ味に関しては、江戸時代に町田長太夫という試し切りの達人が、6人の罪人の死体を積み重ねて童子切安綱を振り下ろすと、六つの死体を切断しただけではなく、刃が土台まで達した、という逸話が残っている。
English: In 1946, the sword was sold from Matsudaira Family of Tsuyama Domain to a sword merchant, and after twists and turns it passed into the state's possession and now is in the collection of the Tokyo National Museum.
Japanese: 昭和21年（1946年）、津山松平家より刀剣商に売却され、紆余曲折の末、国の所有となり東京国立博物館に所蔵されている。
English: Furthermore, together with the sword blade there remain the scabbard and hilt of jintachi style (the style of sword designed specially for use on the battle field); a Kinnashiji-painted scabbard and a Itomaki (string-wound) hilt, however these fittings were produced in the Edo period and are different from the original when the sword was made.
Japanese: 尚、刀身と共に金梨地鞘糸巻拵えの陣太刀様式の外装が現存しているが、この拵えは江戸時代に製作されたものであり、作刀当初のものとは異なる。
English: It is unclear what the fittings looked like when the sword was made.
Japanese: 作刀当初に収められていた拵えがどのようなものであったのかは判然としていない。
English: Haimyo is originally synonymous with Haigo (the pen name of a haiku poet), but it was used as follows in the field of public entertainment after the mid Edo period:
Japanese: 俳名（はい-みょう）は、本来俳号と同義であるが、江戸時代中期以降の芸能分野において次のように用いられた。
English: 1. a name (pseudonym) freely used by kabuki actors both in public and private matters, apart from their family name which they used on the stage (stage name)
Japanese: 1.歌舞伎役者が舞台の上で使う名跡（芸名）とは別に、公私にわたって自由に使用した名（号）。
English: As contrasted with Kanshi (Chinese poems), it is called Shiyo as well; it is also known as Chotanku because it consisted of lines of irregular lengths, short and long.
Japanese: また漢詩に対して詩余（しよ）とも言われ、長短不揃いの句で構成されることから長短句（ちょうたんく）ともいう。
English: Since Ci was originally composed in accordance with music, it is sometimes called Ten Ci, meaning "filling the music with verses," and also Isei, meaning "to the tune of the music."
Japanese: 曲に合わせて詞が書かれたので、詞を埋めるという意味で填詞（てんし）、音楽に合わせるという意味で倚声（いせい）とも言われる。
English: Since it has the same sound as the Japanese word "Kanshi (Shi)"(Chinese poems), it is also pronounced "Tsu" taken from the Chinese pronunciation to be distinguished from each other.
Japanese: 日本語では漢詩（し）と同音であるため、区別しやすく中国語音からツーと呼ばれることがある。
English: In later years, Ci was composed not to the music but to the tones of previous works, so it became regarded as a kind of recited verses like Chinese poems.
Japanese: 後代には音楽に合わせて作られるのではなく、前人の作品の平仄に合わせて作られるようになったため、漢詩と同様、朗読される詩歌の一種となった。
English: Ci is composed according to each tune that had the different form; for example, in "Okukonan (Recalling the south of the Chang Jiang River) " the number of characters in each line is determined as 3,5,7,7, and 5 characters, and the 2nd, 4th, and 5th lines should be rhymed.
Japanese: 詞調に合わせて詞が作られるが、詞調ごとに形式が決められており、例えば「憶江南」では、句の字数が3・5・7・7・5、押韻が2・4・5句目と決められている。
English: Ci-hai used for the title of Ci has nothing to do with the contents unlike poems.
Japanese: 詞の題名には詞牌が使われており、詩のように内容による題はつけられない。
English: According to "Ci-fu 詞譜" compiled by the Emperor Kangxi in the Qing Dynasty, the number of Ci-hai amounts to 826 tunes, and it comes to as many as 2,306 including those with "the same tune but a different form."
Japanese: 詞牌の数は、清の康熙帝勅撰の『詞譜』によると、826調、同一詞牌で形式の異なる「同調異体」を数えると2306体に登る。
English: When a new music (Kogaku) was introduced from the Western Regions in the Tang period, the conventional musical system greatly changed.
Japanese: 唐代、西域から新しい音楽（胡楽）が流入すると、従来の音楽体系が大きく変化した。
English: Ci is considered to have various origins, from Engaku (Chinese court music) to popular music.
Japanese: その来源には宮中の燕楽や民間の通俗音楽にいたるいくつかがあると考えられる。
English: In later years, after the tradition of those music and scores were lost, Ci was composed based on the tones or the form of each line.
Japanese: 後代、曲や楽譜の伝承が途絶えると、その平仄や句式を基準にして作られた。
English: This classification has no specific basis, but is used only as a guide.
Japanese: という分類がされたが、何か根拠となるようなものがあるわけではなく、単なる分類の目安である。
English: Sankyoku is a kind of music (qu) and a form of poetry in the spoken language and is also literature of songs and ballads.
Japanese: 散曲（さんきょく）とは、曲の一種であり、口語による韻文形式または歌謡文芸の一つ。
English: There are two kinds; one is 'Santo' (the abbreviation of Sankyoku-tosu, also simply called Tosu [taoshu in Chinese]) and the other is 'Shorei' ([xiaoling in Chinese] different from Shorei of Ci, another type of literature)
Japanese: 「散套」（さんとう：散曲套数の略、単に套数とも言われる）と「小令」（しょうれい：詞の小令とは異なる）の2種類がある。
English: 'Santo' is a suite form of poetry composed of the same scales (gongdiao in Chinese), in which major and minor are irregular and a single rhyme is used through the poem.
Japanese: 「散套」は同一の宮調を用いて構成された組歌形式のものであり、長短不揃いで押韻は一韻到底であった。
English: There is also another kind, 'taikakyoku' (daiquoqu in Chinese), composed of two or three melodies, but it is categorized as part of shorei.
Japanese: また2・3の曲調で構成される「帯過曲」があるが、これは小令の一体として分類されている。
English: Works as 'Majie' by Ma Zhiyuan, 'Niu Suyuan' by Yao Shouzhong, 'Gaozu Huanxiang' by Sui Jingchen and 'Shanggao jiansi' by Liu Zhi are famous.
Japanese: 馬致遠の「借馬」、姚守中の「牛訴冤」、睢景臣の「高祖還郷」、劉致の「上高監司」といった作品が有名。
English: In many cases, the same writer writes both sankyoku and zakkyoku, but some writers like Zhang Kejiu and Guan Yunshi wrote only sankyoku.
Japanese: 多く雑曲と作家が共通するが、散曲だけの作家に張可久、貫雲石らがいる。
English: It is a term that refers to lyrics and its music together, and the term of poetry for singing in contrast with poetry for reciting.
Japanese: 歌詞をその音楽と分けずに言及する言葉であり、朗読する詩歌に対して歌う詩歌を指す言葉である。
English: Japanese kayo are seen among the works in "Kojiki" (The Records of Ancient Matters), "Nihonshoki" (Chronicles of Japan), "Fudoki" (records of the culture and geography of provinces of Japan) and "Manyoshu" (the oldest anthology of tanka).
Japanese: 日本の歌謡は、『古事記』『日本書紀』『風土記』や『万葉集』に所載されたものから見ることができる。
English: The poems in "Shijing", the oldest Chinese poetry book, were originally kayo, and it is known that they were accompanied with music and dance.
Japanese: 中国最古の詩集である『詩経』はもともと歌謡であり、音楽・舞踊をともなっていたことが知られている。
English: From then on the works collected in this bureau and the later folk kayo came to be called 'Gafu' (yuefu in Chinese) folksongs.
Japanese: 以後、ここで集められた作品、あるいはそれ以後の民間歌謡を「楽府」（がふ）と呼ぶようになった。
English: The separation of poetry from songs is considered to have occurred during the Jianan period at the end of the Later Han Dynasty (Jianan literature).
Japanese: 歌と詩の分離は、後漢末、建安(漢)頃であったと考えられている（建安文学）。
English: Another kind of literature of songs and ballads 'kyoku (qu in Chinese)' appeared during the Song Dynasty, flourishing in the Yuan Dynasty (genkyoku [yuanqu in Chinese]).
Japanese: 宋代から「曲」と言われる歌謡文芸が興り、元代になって隆盛した（元曲）。
English: Qu includes gikyoku (xiqu in Chinese)(China) that is used in plays as well as sankyoku (sanqu in Chinese) that is composed of only songs and has two kinds of style, shorei (xiaoling in Chinese) and tosu (taoshu in Chinese).
Japanese: 曲は戯曲(中国)といわれる劇中で使われるものと歌謡だけの散曲があり、形式的には小令と套数という二つのものがある。
English: Onsen-manju reffers to a manju (a bun stuffed with azuki-bean paste) sold in towns and resorts of hot springs.
Japanese: 温泉饅頭（おんせんまんじゅう）とは、温泉地で売られている饅頭のこと。
English: It is supposedly named after that hot spring water is used for its dough and the steam from hot spring is also used for steaming the buns.
Japanese: 生地に温泉水を使うこと、または蒸しの過程で、温泉の蒸気を使うことから付けられたとされる。
English: However, there are only few hot springs which have both sodium bicarbonate suited for making soft and full dough, and steam of high temperature required for steaming, therefore many of the manju called Onsen-manju are normal manju just as a souvenirs.
Japanese: しかし、ふっくらした生地を造るのに適した重曹成分や蒸しに適した高温の蒸気が確保できる温泉は限られており、多くは単なる土産物としての饅頭である。
English: In other word, it became called 'Onsen-manju' since it was manju sold in towns of hot springs; and Onsen-manju became a standard Japanese confectionery sold in souvenir shops or served in a Japanese-style hotel of towns of hot springs.
Japanese: つまり、温泉地で売られる饅頭、ということで「温泉饅頭」と呼ばれるようになったのであり、温泉地土産や旅館で出される和菓子の定番品として定着した。
English: In all parts of Japan, Onsen-manju refers to mainly steamed manju and its color is white or brown, however it is not rare to find unique Onsen-manju which are made for meeting various tastes.
Japanese: 全国的には白や茶色の蒸し饅頭が主であるが、趣味の多様化応える特徴的な商品も珍しくはない。
English: As for the birthplace of Onsen-manju, someone says it was Gunma Prefecture, and someone says it was Ikaho-onsen hot springs, however there is no evidence that similar manju had not existed before that.
Japanese: 温泉饅頭の発祥地は、群馬県説、伊香保温泉説などが言われているが、それ以前に類似のものがなかったという証拠はない。
English: In the Meiji period, people of a town of hot spring were trying to make a new confectionery to be sold as a specialty, and the people gained some hints from Usukawa-manju (steamed yeast bun with filling with thin skin).
Japanese: また、明治時代、温泉地の名物となる菓子商品を開発する際に、薄皮饅頭が注目された。
English: In the past, in Ikaho-onsen hot springs which has been called the birthplace of Onsen-manju, the water of the spring's source and the mineral deposits of the hot springs (resembling flowers) were used for adding the unique color which reminded of spring's source to the manju.
Japanese: 発祥の地ともいわれる伊香保温泉では源泉をイメージする色を与えるために、源泉や湯の花を配合したこともあった。
English: However the result was not desirable, therefore it is said that confectioners used unrefined sugar, which was becoming available at that period, as a substitute for water and mineral deposits.
Japanese: しかし、いい結果が得られなかったため、入手が容易になりつつあった黒糖を使用したと言われている。
English: Confectioners of other towns of hot springs also tried blending water of spring's source, and someone tried making it by using high temperature steam of hot springs.
Japanese: また、他の温泉地では源泉を配合したり、高温蒸気を用いて製造したケースもある。
English: As for the production of manju using the steam from hot springs, there remains a record of the Edo period; according to it, at 'Furo no yu,' one of spring's sources of Atami-onsen hot springs, such steam was used for making manju.
Japanese: 温泉蒸気を用いて饅頭を製造した例は、江戸時代に熱海温泉の源泉の一つ「風呂の湯」で行われた記録が残る。
English: In the opening Kyogen (farce played during a Noh play cycle), the ai (role of a kyogen actor in Noh) explains that we are at Ungo-ji Temple and today is Kechigan (the last day) of Nanoka seppou (seven days of sermons) by Jinen Koji (a boy monk of hanzoku [monk living as ordinary people]).
Japanese: 狂言口開けで、アイがここは雲居寺境内、今日は自然居士（半俗の少年僧）の七日説法の結願（最終日）であると説明する。
English: During the scene, the waki, a human trafficker, appears at ichi no matsu (first pine on the Noh stage) and forces his way into the sermon to abduct the child, whom he has bought.
Japanese: この間にワキの人買いが一の松まで現れ、買い上げた幼い者を連れ去ろうと説教の場に乱入する。
English: Jinen Koji stops preaching, knowing the past 6 days will be wasted but placing greater importance in distinguishing right and wrong.
Japanese: そしてこれまでの六日間が無駄になるのを承知で、善悪を弁えることが更に重要であると説教をやめる。
English: Jinen Koji catches up with the human trafficker at the shore of Lake Biwa in Otsu and throws the garment at him but the human trafficker does not budge as there is a rule that he will not return anything that has been purchased.
Japanese: 琵琶湖畔は大津で人買いに追い付いた自然居士は衣を叩き付けるが、人買いにも一旦買った者は返さないという掟があると譲らない。
English: Jinen Koji also insists that there is a rule that cannot return to his hermitage if he fails to save a person.
Japanese: 自然居士もまた人助けに失敗したら二度と庵室に戻らないという掟があると言いはる。
English: The human trafficker threatens Jinen Koji, saying 'you will get hurt if you do not listen,' but Jinen Koji does not budge saying 'that is also the ascetic practice of sacrifice'.
Japanese: 人買いは「言う事をきかないと痛い目に合うぞ」と脅すが「それも捨身の行」と譲らない。
English: Confounded, the human trafficker decides to have Jinen Koji perform a dance in return for the child.
Japanese: 人買いも困り果て、自然居士に舞を舞わせ、それで幼い者を返してやることにする。
English: Jinen Koji performs a Naka no mai (dance) and Kakko no mai (dance with a small drum), both about boats, and happily succeeds in taking the child back to Kyoto.
Japanese: 自然居士は舟を題材にした中ノ舞、羯鼓の舞を見せ、めでたく幼い者を京都に連れ帰ることに成功した。
English: Examples are Isonojo TAMASHIMA in "Natsumatsuri Naniwa kagami" (The Summer Festival: A Mirror of Osaka), Yogoro in "Futatsu chocho kuruwa nikki" (A Diary of Two Butterflies in the Pleasure Quarters), Jihei KAMIYA in "Kawasho" (Rewritten version of "Shinju ten no amijima" [The Love Suicide at Amijima]), and Izaemon in "Kuruwa nikki" (Love Letters from the Licensed Quarter).
Japanese: 具体的な役としては『夏祭浪花鑑』の玉島磯之丞、『双蝶々曲輪日記』の与五郎、『河庄』の紙屋治兵衛、『廓文章』など。
English: As the origin of its name meaning, "only a little push on the shoulder makes him stumble" suggests, it originally indicates the role of a weak-minded young man.
Japanese: その語源が「肩をついただけで転びそうな」というところから来ていることからもわかるように、本来は優柔不断な若衆役である。
English: A common example is a young master of a wealthy merchant family, who is not dependable, having no guts at all; he goes so mad with love in a play that he shows himself to be more and more incompetent.
Japanese: たいていは商家の若旦那や若様といった甲斐性なし、根性なしで、さらに劇中で恋に狂い、いっそう益体のないどうしようもなさを露呈することにある。
English: This attitude, which is typified by such characters as Jihei KAMIYA and Izaemon, is even comical rather than pathetic.
Japanese: そのさまは、特に紙治や伊左衛門に特徴的だが、あわれであると同時に、それを通りこして滑稽でさえある。
English: In a way, its amorous and lyrical way of acting has a comical touch, giving unusual attractiveness.
Japanese: でれでれとした叙情的な演技が一面から見れば喜劇味をも含むという不思議な味いがある。
English: The crucial difference between this role of Tsukkorobashi in wagoto style acting of Kamigata Kabuki and other Nimaime (the roles of a lover) including the one in wagoto style acting of Edo Kabuki, lies in this funny and comical aspect of the character, or even, in the different traditions of molding characters that produce such difference.
Japanese: 江戸和事の二枚目や、上方和事のつっころばし以外の二枚目との決定的な違いは、まさしくこの滑稽味、喜劇味の有無にあり、さらにいえばその原因となる性格造形の違いにあるといえるだろう。
English: Tsukkorobashi is a kind of person who is timid, and too attentive to women; he is inept at earning a living, gutless, and somewhat unreliable since he is from a well-to-do family.
Japanese: つっころばしは気が弱く、女に優しく、そのくせいいところの御曹司であるがために甲斐性や根性には欠け、なんとなくたよりない。
English: In contrast, Nimaime in Edo Kabuki is similar to Tsukkorobashi on the surface; however, at the core, he is fiery-tempered and filled with an awareness of his duty, which gives an inkling of toughness.
Japanese: これに対して江戸の二枚目は、表面上はつっころばしに似つつも、その芯の部分にはげしい気性や使命を帯びているために、どこかきりっとした部分が残るのである。
English: Tsukkorobashi is an acting role peculiar to the Kyoto-Osaka area; it is more influenced by an actor's personality or the stage atmosphere rather than degrees of the actor's skill.
Japanese: つっころばしは上方独特の役種で、演技の巧拙以上に役者の持味、舞台の雰囲気に左右されることが多い。
English: It is often said that Kamigata Kabuki places more stress on originality, feelings, and atmosphere than formality; the role of Tsukkorobashi is an extremely typical example.
Japanese: しばしば上方歌舞伎は型よりも持味、心情、雰囲気を重視するといわれるが、なかでもつっころばしはその典型的な例であるといえる。
English: Text added to paintings in the Sung period and later was called 題 (dai) or 跋 (batsu).
Japanese: 宋時代以降の絵画に付属する文章は、主として「題」または「跋」と呼ばれた。
English: In Japan, "gasan" refers to poetry written in a blank space, usually on the upper part of a painting.
Japanese: 日本における画讃とは、絵画の主として上部の空白部に書き込んだ詩文を言う。
English: The practice of a Zen monk giving his portrait (or called Chinzo) with gasan to his disciple after he had completed ascetic training was introduced together with the Zen sect after the Kamakura period.
Japanese: 禅僧が修行を終えた弟子に自分の肖像画（頂相）に画讃をいれて、弟子に与える習慣が、鎌倉時代以降、禅宗とともに導入された。
English: In the Muromachi period, many shigajiku (paintings with a san of Chinese poetry in the form of a hanging scroll) for which a san poem is essential were produced in large numbers, as were paintings by Zen monks such as Kanzan Jittoku or motif paintings with a san on their upper part (Kanzan and Jittoku were unworldly persons who lived in the Tang period and who were often used as the subject matter for paintings by Zen monks).
Japanese: 室町時代には、賛詩を必須とする詩画軸、上部に賛のある寒山拾得などの禅画が多数制作された。
English: A part (commonly an upper part) of a painting is marked with boundary lines to make the shape of a square, and in many cases this square is either painted in a different color to the rest of the painting or is whitewashed.
Japanese: 絵画の面の一部（上部が多い）を方形に線で区切って、多くは別の色や胡粉で塗りつぶす。
English: "Yojinbo", which hit the screens in 1961, is a period action movie directed by Akira KUOSAWA,.
Japanese: 『用心棒』（ようじんぼう）は、1961年に公開された黒澤明監督のアクション時代劇映画。
English: A desolate post station in Joshu, where a strong, dry wind is blowing down from the snow-capped Mt. Akagi under a blue winter sky,
Japanese: 冬の青空に雪を戴く赤城山から乾いた空っ風が吹き降ろす、荒涼とした上州の宿場町。
English: He calls himself Sanjuro KUWABATAKE (Toshiro MIFUNE) and hires himself out as a bodyguard to both groups, but actually he is carefully plotting to set them against each other
Japanese: 桑畑三十郎（三船敏郎）と名乗る彼は、両方の勢力に用心棒として売り込みつつ、巧みに同士討ちを仕組んでいく。
English: However SHINDEN no Unosuke returns to the village with the air of a dandy.
Japanese: しかし、そこに伊達な雰囲気を漂わせた新田（しんでん）の卯之助（仲代達矢）が帰郷して...。
English: KUROSAWA claims that "the greatest appeal of this movie (and the movie that is regarded as its sequel, TSUBAKI Sanjuro) is the unique personality of the main character Sanjuro, rather than the swordfight scenes".
Japanese: 「この映画（続編的存在の椿三十郎も）の最大の魅力は殺陣のシーンではなく、主人公の三十郎の特異なキャラクター設定にある」と黒澤本人は主張している。
English: However, its innovative swordfight scenes (there are only around three important swordfight scenes in the movie) express a charm which should not be missed.
Japanese: とはいえ、斬新な殺陣（重要なものは三箇所ほどしかない）の表現も見逃せない魅力である。
English: Swordfight plays in period dramas before this movie were an extension of conventional stage sword plays, such as those symbolized in Toei Company's movies.
Japanese: それまでの時代劇の殺陣は、東映作品に象徴されるような従来の舞台殺陣の延長にあった。
English: KUROSAWA had been searching for a more realistic way to express swordfights (as seen in 'Rashomon', 'Seven Samurai', and 'Ketto Kagiya no Tsuji' (The Duel at the Key-Maker's Corner) for which he wrote the script), eliminating the element of dance performance which is impossible in a real fight.
Japanese: 黒澤は、そうした現実の格闘ではあり得ない舞踊的表現を排除したリアルな殺陣の表現を探っていた（「羅生門(映画)」、「七人の侍」、脚本を書いた「荒木又右ヱ門決闘鍵屋の辻」）。
English: In this film, using the effect of a telescopic lens, which KUROSAWA had used frequently since "Seven Samurai", effectively succeeds in highlighting the swordfight.
Japanese: 本作では『七人の侍』以来多用していた望遠レンズの効果が遺憾なく発揮され、殺陣をより効果的に見せている。
English: However, the contribution of Takao SAITO cannot be overlooked even though his name was not included in the credit titles of the multicam method version of the film.
Japanese: しかし、マルチカム方式で撮影されている本作品ではクレジットされていないものの、斉藤孝雄の貢献も無視できない。
English: "Yojinbo" is largely influenced by hard-boiled action novels by Samuel Dashiell HAMMETT.
Japanese: 本作はダシール・ハメットのハードボイルド・アクション小説の影響が大きい。
English: When KUROSAWA was once asked, " Isn't Yojinbo actually Red Harvest?" he admitted, "Not only is it Red Harvest but I use HAMMETT's ideas so much that I should have really put his name in the credits."
Japanese: それは黒澤本人が「用心棒は血の収穫」ですよね？」という問いに「血の収穫」だけじゃなくて、本当はクレジットにきちんと名前を出さないといけないぐらいハメット（のアイデア）を使ってる」と認めている。
English: The plot of this film involves a hero who happens to come into town, approaches two groups in conflict with each other to deceive and finally annihilates both of them and walks away, and this kind of plot is seen in other Toho films, although each with varying details to some degree.
Japanese: なお、「ある町にふらりと現れた主人公が、そこで対立する2つの組織に近づいて双方を欺き、最後には全滅させて去っていく」という、本作のようなアウトラインは、多少の違いはあるものの他の東宝映画にも見受けられる。
English: Examples of these include a gang action film 'Ankokugai no Taiketsu' (The Last Gunfight), directed by Kihachi OKAMOTO in 1960) which was released one year before "Yojinbo", and a gangster parody film 'Nippon-ichi no Yakuzaotoko' (1970, directed by Kengo FURUSAWA) which was released nine years after "Yojinbo" are other examples.
Japanese: 例としては本作の前年に公開されたギャング・アクション映画「暗黒街の対決」（1960年岡本喜八監督）や、本作の9年後に公開された任侠パロディ映画「日本一のヤクザ男」（1970年古澤憲吾監督）などが挙げられる。
English: Although it is common practice nowadays, this was the first film to feature a fight sequence in which two samurai swung their swords down as they passed each other and then suddenly stopped moving as one of them collapsed to the ground and died, and the film also used sound effects to accompany the action in swordfights.
Japanese: 今ではよく見られる演出だが、侍同士の対決シーンで、すれ違いざま刀を振り下ろし、いったん静止して片方が倒れて死ぬという描写や、効果音として刀の斬殺音を使用したのは、本作が最初である。
English: However, as this was the first trial, the volume of these sound effects was lower than in 'TSUBAKI Sanjuro'.
Japanese: ただ、本作では最初の試みということもあって、音量は「椿三十郎」よりは控えめである。
English: Daiei Motion Pictures produced a movie, "Zatoichi to Yojinbo"(Zatoichi and a Bodyguard, directed by Kihachi OKAMOTO in 1970) in which Shintaro KATSU played the lead and Toshiro MIFUNE appeared in it as a bodyguard dressed in a similar way as he was in "Yojinbo."
Japanese: 勝新太郎主演の大映映画に『座頭市と用心棒』（1970年岡本喜八監督）があり、三船敏郎が同じような衣装で用心棒として登場する。
English: However the name of the character Toshiro MIFUNE played, Daisaku SASA, was different to the one he played in "Yojinbo", and their personalities were also very different.
Japanese: しかし、三船敏郎の役名は本作と違う佐々大作になっており、役作りもかなり違う。
English: Fukuzo KOIZUMI and Takao SAITO were the cameramen for "TSUBAKI Sanjuro", whereas for "Zatoichi to Yojinbo" the camerawork was done by Kazuo MIYAGAWA, as it was in "Yojinbo."
Japanese: なお『椿三十郎』では撮影が小泉福造、斉藤孝雄に変わったのに対し、『座頭市と用心棒』の撮影は、本作と同じ宮川一夫である。
English: In the same year as "Zatoichi to Yojinbo", the film "Machibuse" (Ambush) was released (1970, produced by Mifune Production, distributed by Toho and directed by Hiroshi INAGAKI), co-starring the five big-stars Toshiro MIFUNE, Shintaro KATSU, Yujiro ISHIHARA, Kinnosuke NAKAMURA and Ruriko ASAOKA.
Japanese: さらに同年、今度は三船プロ製作・東宝配給による、三船敏郎、勝新太郎、石原裕次郎、中村錦之助、浅丘ルリ子の5大スター共演映画『待ち伏せ』（1970年稲垣浩監督）。
English: In this film MIFUNE plays a nameless bodyguard (in the film he says he forgot his name while wandering around various countries).
Japanese: 三船は本名不明の用心棒（劇中では「名前は諸国を放浪している間に忘れた」と語っている）を演じている。
English: In addition, Ryu KUZE, Masaru SATO and Hideo OGUNI (who wrote the screenplay for "TSUBAKI Sanjuro") worked on this film.
Japanese: その他に久世竜、佐藤勝、『椿三十郎』で脚本を担当した小国英雄が参加している。
English: SATO composed the film's theme song, which is very reminiscent of the music used in "Yojinbo."
Japanese: 佐藤はこの作品のテーマ音楽として用心棒の劇伴を彷彿とさせる音楽を作曲している。
English: MIFUNE played a member of a Japanese mission in the French film "Red Sun" directed by Terence YOUNG in 1971.
Japanese: 1971年にはテレンス・ヤング監督による仏作品『レッド・サン』に、日本使節団の一員として三船が出演している。
English: Later "Yojinbo" was remade in Italy as "A Fistful of Dollars " (directed by Sergio LEONE in 1964).
Japanese: 後にイタリアで『荒野の用心棒』（1964年/セルジオ・レオーネ監督）でリメイクされた。