nntsuzu/KFTT huggingface dataset:
English: In 1867 he became a member of Shinsengumi and in 1868 he participated in the Battle of Toba and Fushimi, and Koyo Chinbutai (a military unit specially formed for the campaign in Kai Province).
Japanese: 1867年に新選組に入隊し、1868年の鳥羽・伏見の戦いや甲陽鎮撫隊に参戦。
English: After that, he went to the front in Aizu and after he was defeated in the Battle of Bonari-toge in August, he stayed in Aizu with Hajime SAITO and others.
Japanese: その後会津へ出陣し、八月の母成峠の戦いで敗れた後、斎藤一らと会津に残留。
English: YAMATO no Aya no Koma (year of birth unknown - 592) is a person duing the Asuka Period.
Japanese: 東漢駒（やまとのあやのこま、生年不詳-崇峻天皇5年（592年）11月(旧暦)）は飛鳥時代の人物。
English: According to the "hotokutaishi-Denryaku" (biography of Shotokutaishi), Koma had two aliases, Iwao and Komako.
Japanese: 『聖徳太子伝暦』一本には、駒の別名を盤（いわお）と、またの別名を駒子という。
English: In November 592, Koma killed Emperor Sushun as an assassin hired by SOGA no Umako.
Japanese: 崇峻天皇5年（592年）11月、蘇我馬子の刺客として崇峻天皇を殺害する。
English: In the same month, however, it was revealed that Koma had adultery with Umako's daughter, Kawakami no irazume (one of Emperor Sushun's wife in a lower rank), and Koma was executed by Umako.
Japanese: しかしその月に、馬子の娘である河上娘（かわかみのいらつめ、崇峻天皇の嬪）との密通が露見し、馬子によって処刑された。
English: Taikan YOKOYAMA (orthographic style: Taikan, November 2, 1868 - February 26, 1958) was a Japanese artist.
Japanese: 横山大観（よこやまたいかん、正字体：大觀、明治元年9月18日(旧暦)（1868年11月2日）-昭和33年（1958年）2月26日）は、日本の美術家。
English: He was a great master of the Japanese art world and established, what is today called 'Moro-tai' (painting technique), a unique Bossen gaho (painting technique) with vague line drawing.
Japanese: 近代日本画壇の巨匠であり、今日「朦朧体」と呼ばれる、線描を抑えた独特の没線描法を確立した。
English: He was born in 1868 as the first son of Sutehiko SAKAI, a former clansman of the Mito Domain.
Japanese: 明治元年（1868年）、旧水戸藩藩士・酒井捨彦の長男として生まれる。
English: He graduated from Furitsu Icchu (abbreviation for Tokyo Prefectural No. 1 Junior High School), and during his school days in Nihon Gakuen Junior High School and Senior High School he became interested in the pictorial arts and learned pencil drawing from Bunzaburo WATANABE, a Western-style painter.
Japanese: 府立一中卒業後、私立の日本学園中学校・高等学校在学中に絵画に興味を抱き、洋画家・渡辺文三郎に鉛筆画を学ぶ。
English: After his graduation from the Tokyo School of Fine Arts, he moved to Kyoto, where he started studying Buddhist painting and at the same time became a teacher of the preparatory school of the Kyoto City University of Arts.
Japanese: 美術学校卒業後、京都に移り仏画の研究を始め、同時に京都市立芸術大学予備科教員となる。
English: He resigned the above post and took a position as assistant professor of his alma mater, the Tokyo School of Fine Arts.
Japanese: 明治29年（1896年）、同職を辞すと、母校・東京美術学校の助教授に就任した。
English: Taikan, who looked up to Okakura as his mentor, resigned from his position as assistant professor to follow suit, and in the same year he participated in the establishment of the Nihon Bijitsuin (The Japan Art Institute).
Japanese: 岡倉を師と仰ぐ大観はこれに従って助教授職を辞し、同年日本美術院創設に参加する。
English: In his activities in the Institute he, together with Shunso HISHIDA, continued the unremitting study of a new style adopting the painting technique of Western painting, and before long he was turning out Bossen gaho paintings with courageously vague line drawings.
Japanese: 美術院の活動の中で、大観は菱田春草と共に西洋画の画法を取り入れた新たな画風の研究を重ね、やがて線描を大胆に抑えた没線描法の絵画を次々に発表する。
English: While the name "Moro-tai" is regarded as a term that appropriately indicates his style at the time, it was initially used as a criticism to mean a 'lifeless, vague and dim style.'
Japanese: 現在ではその画風を的確に表す言葉とされる『朦朧体』という呼称も、当初は「勢いに欠ける、曖昧でぼんやりとした画風」という意味で、批判的に使用された言葉であった。
English: Because his domestic activities began to show signs of a standstill due to a strong conservative trend in the country's art world, Taikan went abroad with Hishida, held exhibitions one after another in Calcutta, New York and Boston, and was well received.
Japanese: 保守的風潮の強い国内での活動が行き詰まりを見せはじめたため、大観は菱田と共に海外に渡り、カルカッタ、ニューヨーク、ボストンで相次いで展覧会を開き、高い評価を得た。
English: Subsequently, he went to Europe, where he held exhibitions in London, Berlin and Paris, where he was also well received.
Japanese: その後ヨーロッパに渡り、ロンドン、ベルリン、パリでも展覧会を開き、ここでも高い評価を受ける。
English: In 1907, he was a judge in a new annual art exhibition sponsored by the Ministry of Education (Bunten), which started that year, and in 1913 restored the Nihon Bijitsuin, whose activities had been continually interrupted due to the pressures of old-guard cronyism.
Japanese: 1907年にはこの年より始まった文部省美術展覧会（文展）の審査員を務め、大正2年（1913年）には守旧派に押されて活動が途絶えていた日本美術院の再興に至った。
English: After that, he built a solid position as a leading figure in the Japanese art world, received the Asahi Shinbun Cultural Award in 1934, became a member of the Imperial Fine Arts Academy in 1935, and in 1937 received the first Bunka Kunsho (Order of Culture), which was enacted that year.
Japanese: 以後、日本画壇の重鎮として確固たる地位を築き、1934年朝日文化賞受賞、昭和10年（1935年）には帝国美術院会員となり、昭和12年（1937年）にはこの年制定された第一回文化勲章の受章者となった。
English: He was raised to Shosanmi (Senior Third Rank) and presented with the Grand Cordon of the Order of the Rising Sun for his many years of service in the development of Japanese art.
Japanese: 永年に渡る日本美術発展への貢献により正三位に叙せられ、勲一等旭日大綬章を贈られた。
English: His brain is kept preserved in alcohol at the Faculty of Medicine, University of Tokyo.
Japanese: 脳は、現在もアルコール漬けにされた状態で東京大学医学部に保管されている。
English: Being known as a heavy drinker, he is considered to have had almost no rice (even when he occasionally had rice, he ate only a grain or two) but had meals only with sake (rice wine) and side dishes for 50 years or the latter half of his life.
Japanese: 大変な酒好きとして知られ、人生後半の50年は飯をほとんど口にせず（たまに食べる時も一粒二粒と数えるほど）、酒と肴だけで済ませていたという。
English: The sake he used to drink was "Suishin" of Hiroshima, which Kaoru YAMANE, then the president of Suishin Brewery, kept sending to him free of charge under the Yamane's promise to present sake to Taikan for life,' a promise made when Taikan and Yamane came to know each other and found themselves to be on the same wavelength in the early Showa period.
Japanese: 飲んでいた酒は広島の『醉心』で、これは昭和初期に醉心酒造の社長・山根薫と知り合った大観が互いに意気投合し、「一生の飲み分を約束」した山根より無償で大観に送られていたものだった。
English: Taikan kept sending one painting of his every year free of charge in place of payment for the sake, resulting in the establishment of the Taikan Memorial Museum at Suishin Brewery.
Japanese: 代金のかわりとして大観は毎年1枚ずつ自分の絵を無償で送り、結果、醉心酒造に大観の記念館ができることとなった。
English: However, his teacher, Tenshin OKAKURA, was a heavy drinker who reportedly drank two sho (approximately 3.6 liters) a day and strongly encouraged Taikan to drink sake, saying, 'If you cannot drink such a small quantity of sake as one sho, how can you take care of yourself?'
Japanese: しかし師の岡倉天心は日に2升ともいわれる酒豪であり、「酒の一升くらい飲めずにどうする」と大観を叱咤した。
English: He always acted together with Shunso HISHIDA, his best friend and classmate at the Tokyo School of Fine Arts, and in collaboration with Hishida he produced works such as "Morning in Spring/Evening in Fall" and "On the Way Home/Arrival in Port."
Japanese: 東京美術学校の同期生である菱田春草とは無二の親友で常に行動を共にし、『春の朝・秋の夕』、『帰路、入船』などを合作している。
English: When Taikan's friend died young in 1911 at the age of 36, he deeply lamented it and took the initiative in holding an exhibition in memory of Shunso HISHIDA, sending his own work, "Goryu Sensei" (now in the possession of the Tokyo National Museum) to the exhibition.
Japanese: 1911年に菱田が36歳で夭折すると大観は大いに嘆き、菱田春草追悼展の開催を主導し自らも『五柳先生』（東京国立博物館蔵）を出品した。
English: Until his later years, whenever he was called a great master of Japanese painting, he reportedly said, 'If that guy [Hishida] were alive, he would be better than I am.'
Japanese: 晩年に至るまで、自らが日本画の巨匠と称されるたびに「あいつ（菱田）が生きていたら俺なんかよりずっと巧い」と口にしていたという。
English: Taikan was strongly affected by Sutehiko, his father and an ardent loyalist, and his teacher, Tenshin OKAKURA, who was well known as a thinker and was characterized as an ultranationalist.
Japanese: 大観は、熱烈な勤王派であった父・捨彦、思想家としても著名であり国粋主義者とも称された師・岡倉天心の影響を色濃く受けた。
English: He himself had an ultranationalistic aspect and preferably sought subject matter in the heroic and beautiful Mt. Fuji, which symbolizes Japan.
Japanese: 自身も国粋主義的な面を持ち、日本の象徴である勇美な富士山を好んで題材とした。
English: He frequently presented his paintings to the Imperial Family, and during the Pacific War he contributed the proceeds from the sale of his own paintings to the military for the manufacture of fighter planes.
Japanese: 皇室にもたびたび絵を献上し、太平洋戦争中には自らが売却した絵の代金を戦闘機の制作費用として軍に寄付するなどしていた。
English: Due to the above facts, after the war he was once questioned as a suspected war criminal by the General Headquarters (GHQ).
Japanese: そのため、終戦後には連合国軍最高司令官総司令部より戦犯容疑者として取り調べを受けた事もあった。
English: Since Taikan's touch was considered at a glance to be easy to imitate despite its uniqueness, many nameless painters appeared during a certain period of time before the war, falsely representing themselves as Taikan YOKOYAMA and going from one local wealthy person to another as freeloading guests.
Japanese: 大観のタッチは独特ながら一見、模倣しやすいと考えられ、戦前の一時期、横山大観を騙り地方の素封家の食客となって渡り歩く無名画家が多数あらわれた。
English: These imitations are sometimes sarcastically called 'Inaka Taikan' (Country Taikan).
Japanese: これらの模倣作ないし贋作をさして揶揄的に「田舎大観」と呼ぶことがある。
English: As for Taikan's works, it is well known that there are enormous numbers of fakes including the above, and so Taikan's paintings are protected by assigning a number called 'Taikan number' to paintings that have been appraised by experts as being genuine.
Japanese: これらも含め、贋作が非常に多い事でも知られ、鑑定の結果、真筆と判定された作品には「大観番号」という番号をつけて保護されている。
English: It is said that he was a fan of the singer Shizuko KASAGI and that he loved listening to the phonograph recordings of 'Tokyo Boogie-Woogie' and 'Kaimono Boogie-Woogie.'
Japanese: 歌手笠置シヅ子が好きだったと言われ、「東京ブギウギ」や「買物ブギ」のレコードを愛聴していた。
English: 1881: He entered Hibiya High School, Tokyo (the current Hibiya High School, Tokyo).
Japanese: 明治14年（1881年）：東京都立日比谷高等学校（現在の東京都立日比谷高等学校）に入学。
English: Although he graduated with honors, due to circumstances he lost the qualification for admission in the examination of the 'Preparatory School of the University of Tokyo' (Tokyo Yobimon).
Japanese: 優秀な成績で卒業するが諸事情により「東大予備門試験」では入学資格を消失。
English: Against his will, he entered a private school, Tokyo Eigo Gakko (Tokyo English School) (currently Nihon Gakuen Junior High School/Senior High School), which was then known as a preparatory school.
Japanese: 致し方なく、当時は進学予備校として知られていた私立の東京英語学校（現在の日本学園中学校・高等学校）に入学。
English: 1883: Taikan, who became interested in the pictorial arts, studied under the painter Bunzaburo WATANABE.
Japanese: 明治16年（1883年）：絵画に興味をいだいた大観は、渡辺文三郎という画家に師事した。
English: His father eagerly wanted him to go on to Tokyo Imperial University rather than become a painter, given the fact that a Japanese-style painter at that time was poor and would have to earn a living with sideline work.
Japanese: 当時の日本画家は貧乏であり副業を得て生活していたことから父は画家よりは、東京帝国大学進学を切望。
English: 1895: He became an instructor at the Kyoto Prefectural School of Art and Crafts (the current Kyoto City University of Arts).
Japanese: 明治28年（1895年）：京都市立美術工芸学校（現：京都市立芸術大学）教諭。
English: Some say this gago derived from the text of Hokke-kyo Sutra (the Lotus Sutra), in which "Taikan" is explained to mean to take a very broad view of the world.
Japanese: 大観とはあらゆる大局的な観点から世界を見るという意味の法華経の経文からとったという説もある。
English: Kanzan, Hironari, Shunso, Buzan and others then followed Tenshin and were busily involved in the establishment and management, investing their own funds.
Japanese: そして観山、広業、春草、武山、等々がこれに従って、私財を投入して設立運営に奔走する。
English: This was on the advice of Tenshin OKAKURA, and some say that Tenshin regarded India as the starting point of Nihonga (Japanese painting).
Japanese: 岡倉天心の勧めるものであったが、天心は日本画の原点をインドと考えたのではないかという説もある。
English: His activities in Itsuura were based on 'the Painting section of the Nihon Bijitsuin' (Japan Art Institute), which consisted of the five members, Tenshin, Taikan, Shunso, Kanzan and Buzan.
Japanese: 五浦での活動、つまり「日本美術院絵画部」は、天心、大観、春草、観山、武山の五名。
English: 1928: 'Tachiaoi' (Hollyhock) was presented to Benito MUSSOLINI.
Japanese: 昭和3年（1928年）：ベニート・ムッソリーニに「立葵」が献呈される。
English: 1938: He finished his work, 'Kyokujitu Reiho,' to present it to Adolf Hitler.
Japanese: 昭和13年（1938年）：アドルフ・ヒトラーに献呈するため作品「旭日霊峰」を完成させる。
English: On January 1, 2009, his works whose copyrights had expired came into the public domain.
Japanese: 平成21年（2009年）1月1日から、著作権が消滅し作品がパブリック・ドメインに。
English: Naoya SHIGA (February 20, 1883-October 21, 1971) was a Japanese novelist.
Japanese: 志賀直哉（しがなおや、明治16年（1883年）2月20日-昭和46年（1971年）10月21日）は、日本の小説家。
English: His best known works are "A Dark Night's Passing," "Reconciliation (Novel)," "The Shopboy's God," and "At Cape Kinosaki."
Japanese: 代表作は『暗夜行路』、『和解(小説)』、『小僧の神様』、『城の崎にて』。
English: Naoya SHIGA's grandfather, Naomichi SHIGA, served as a butler of the Soma Clan, the lord of the former Soma- Nakamura Domain; he developed Ashio Copper Mine together with Ichibe FURUKAWA, the founder of Furukawa Zaibatsu, and was involved in the Soma Incident.
Japanese: 志賀直哉の祖父・直道は、旧相馬中村藩主相馬氏の家令を勤め、古河財閥創始者古河市兵衛と共に足尾銅山の開発をし、相馬事件にも係わった。
English: His father, Naoharu SHIGA, became an important figure in the Meiji period financial world through serving as the director of Sobu Railway and Teikoku Life Insurance.
Japanese: 父直温は総武鉄道や帝国生命保険の取締役を経て、明治期の財界で重きをなした人物。
English: Naoya was born in Ishinomaki City, Miyagi Prefecture, where his father Naoharu worked at the First Bank's Ishinomaki Branch; he came to Tokyo when he was three and was raised by his grandparents.
Japanese: 第一銀行石巻支店に勤務していた父・直温の任地､宮城県石巻市に生まれ、3歳より上京し祖父母のもと東京で育てられた。
English: He graduated from Gakushuin Primary School, Gakushuin Junior High School and Gakushuin High School (of the old system), after which he enrolled in the Department of English Literature at the University of Tokyo.
Japanese: 学習院初等科、中等科、学習院高等科(旧制)を経て、東京大学英文科入学。
English: Around 1908, he left Kanzo UCHIMURA, under whom he had studied for 7 years, and parted with Christianity.
Japanese: 1908年ごろ、7年間師事した内村鑑三の下を去り、キリスト教から離れる。
English: In 1910, he published the first issue of the literary magazine "Shirakaba," together with Saneatsu MUSHANOKOJI, his friend from Gakushuin.
Japanese: 1910年に学習院時代からの友人武者小路実篤らと、文芸雑誌『白樺(雑誌)』を創刊した。
English: Around this time, he left home because his conflict with his father, who had always been opposed to his becoming a novelist, worsened over his marriage and other issues.
Japanese: このころ、元々作家となること反対していた父との対立が結婚問題などにより、さらに深まったため家を出る。
English: His minimalistic style, the result of many revisions, was admired as 'concise writing,' and significantly influenced subsequent generations of writers from the Taisho Era to the Showa Era; he was known as the "god of novels."
Japanese: 推敲を尽くした簡潔な文体は、「無駄のない文章」として、大正から昭和にかけて多くの文学者に大きな影響を及ぼし、小説の神様とも称された。
English: The author's only full-length novel, "A Dark Night's Passing" (1921-1937), is considered one of the most important works of Modern Japanese Literature; Shohei OOKA, a novelist, praised it as the highest achievement of modern literature.
Japanese: 著者唯一の長編小説である『暗夜行路』（1921年-1937年）は近代日本文学の代表作の一つに挙げられ、小説家・大岡昇平は近代文学の最高峰であると讃えている。
English: Before the war, he lived in places like Abiko City, Chiba Prefecture, Kyoto City, and Nara City, where he deepened his knowledge of art and edited and published an art catalog, "Zayu-hou (Timeless Treasures)."
Japanese: 戦前は千葉県我孫子市、京都市、奈良市などに住まい、美術に造詣を深め、美術図録『座右宝』を自ら編集し刊行した。
English: He moved back to Tokyo in 1938, but relocated to Oboradai, Atami for a period of time after the war and published short stories such as "Turtledove" and "Morning Glories."
Japanese: 1938年東京に居を戻したものの、戦後の一時期、熱海大洞台に移住、『山鳩』『朝顔』などの小品を発表した。
English: Naoya SHIGA's accuracy of visual description still exerts a powerful influence today.
Japanese: 志賀直哉が今もなお強烈な影響を与えるのは、視覚的把握の正確さである。
English: Needless to say, Hideo KOBAYASHI, who well understood and appreciated this characteristic, was his strongest supporter.
Japanese: その点をよく受けとめ、評価したのが小林秀雄であることは言うまでもない。
English: In the latter half of his life, Naoya SHIGA was awarded a Bunka Kunsho (Order of Culture) in 1949 together with Junichiro TANIZAKI, with whom he'd forged a friendship.
Japanese: 志賀直哉の後半生は、1949年、親交を深めていた谷崎潤一郎と共に文化勲章受章。
English: His circle of friends was limited, but composed of highly-cultured people of the first order; these included Saneatsu MUSHANOKOJI, who had been his friend since Gakushuin days, Moritatsu HOSOKAWA, Muneyoshi YANAGI, and others, as well as Ryuzaburo UMEHARA, Yoshishige ABE, Kazuo HIROTSU, Sotaro YASUI, and Tetsuzo TANIKAWA.
Japanese: 交友関係では、学習院以来の武者小路実篤、細川護立、柳宗悦らの他、梅原龍三郎、安倍能成、広津和郎、安井曽太郎、谷川徹三ら、限定されつつも一流の文化人と交流があった。
English: In his later years, he moved to Tokiwamatsu, Shibuya Ward; he died of pneumonia and debilitation in 1971, at the age of 88.
Japanese: 晩年は渋谷常盤松に居を移し、1971年88歳で肺炎と衰弱のため没した。
English: Novelists who studied under him include Kousaku TAKII, Kazuo OZAKI, Hideo KOBAYASHI (critic), Kiku AMINO, Shizuo FUJIEDA, Toshimasa SHIMAMURA, Kiyoshi NAOI, Hiroyuki AGAWA, and Takiji KOBAYASHI.
Japanese: 彼に師事する作家として、瀧井孝作、尾崎一雄、小林秀雄(批評家)、網野菊、藤枝静男、島村利正、直井潔、阿川弘之、小林多喜二らがいる。
English: Shirakaba Literary Museum (Abiko City, Chiba Prefecture) exhibits manuscripts, letters, and items associated with Shiga.
Japanese: 白樺文学館（千葉県我孫子市）は、志賀の原稿、書簡、ゆかりの品を公開している。
English: Naoya Shiga was born on February 20, 1883 in Rikuzen-ishinomaki (present-day Sumiyoshi-cho, Ishinomaki City) as the second son of his father, Naoharu (a bank employee), and his mother, Gin.
Japanese: 1883年（明治16年）、2月20日に陸前石巻（現在の石巻市住吉町）に、銀行員の父直温（なおはる）、母銀の次男として志賀直哉生まれる。
English: In 1901, he and his father clashed over their views of the Ashio Copper Mine Mineral Pollution Incident.
Japanese: 1901年（明治34年）、足尾銅山鉱毒事件の見解について、父と衝突。
English: (SHIGA wanted to participate in the excursion tour of the Ashio Copper Mine Mineral Pollution Incident; however, his father opposed it because SHIGA's grandfather used to run the Ashio Copper Mine jointly with Ichibe FURUKAWA.)
Japanese: （志賀が足尾鉱毒事件の見学会に参加しようとしたところ、祖父がかつて古河市兵衛と足尾銅山を共同経営していたという理由から父に反対された）
English: He got engaged to Yasuko KADENOKOJI, Saneatsu MUSHANOKOJI's cousin, in 1914.
Japanese: 1914年（大正3年）、勘解由小路康子（武者小路実篤の従妹にあたる）と婚約。
English: Today, his old residence in Takahata-cho, Nara City, Nara Prefecture is preserved as 'SHIGA Naoya Kyukyo (the former residence of Naoya SHIGA),' and is open for public viewing.
Japanese: 現在奈良県奈良市高畑町に旧邸宅が「志賀直哉旧居(奈良市高畑)」として保存されており見学を行うことができる。
English: In 1925, SHIGA moved to Saiwai-cho, Nara City from Yamashina Ward, Kyoto City; in 1929, he built a residence in Takahata which was adjacent to Nara Park and had an excellent view of Mt. Wakakusa.
Japanese: 1925年に京都市山科区から奈良市幸町に引っ越してきた志賀は、奈良公園に隣接し若草山の眺望も良い高畑に居宅を1929年に建設した。
English: He was involved in the design of the residence and lived there with his family for 10 years before moving to Kamakura City in 1983.
Japanese: この際設自ら設計に携わり、1938年から鎌倉市に移り住むまでの10年間を家族と共にこの家で過ごした。
English: The residence was built in the style of a tea-ceremony house, but incorporated European and Chinese architectural styles as well; it was modern and functional, with a western style sunroom, an entertainment room, a library, a tea room, and a dining hall.
Japanese: 数寄屋造りに加え洋風や中国風の様式も取り入れており、洋風サンルームや娯楽室、書斎、茶室、食堂を備えたモダンかつ合理的な建物であった。
English: SHIGA wrote his masterpiece "A Dark Night's Passing" at this residence, as well as "Infatuation," "Platonic Love," and "Kuniko".
Japanese: 志賀はここで「暗夜行路」のほか「痴情」、「プラトニック・ラブ」、「邦子」などの作品を執筆した。
English: Writers of the Shirakaba school, painters, and other people of culture who admired Shiga, such as Saneatsu MUSHANOKOJI, Hideo KOBAYASHI (critic), Kazuo OZAKI, Tamezou WAKAYAMA, Seiyo OGAWA, Taikichi IRIE, Katsuichiro KAMEI, Takiji KOBAYASHI, and Takeo KUWABARA, frequently visited his residence; it became a major cultural salon where people met and discussed art and literature, and eventually came to be known as the Takahata Salon.
Japanese: 志賀を慕って武者小路実篤や小林秀雄(批評家)、尾崎一雄、若山為三、小川晴暘、入江泰吉、亀井勝一郎、小林多喜二、桑原武夫ら白樺派の文人や画家・文化人がしばしば訪れ、文学論や芸術論などを語り合う一大文化サロンとなり、いつしか高畑サロンと呼ばれるようになった。
English: The library and second-floor guest room had beautiful views of Mt. Wakakusa and Mt. Takamado; the garden was designed so that he could take a stroll when he was tired from writing.
Japanese: 書斎や2階の客間からは若草山や三蓋山、高円山の眺めが美しく、庭園も執筆に疲れた時に散策できるように作られていた。
English: He said, "Nara was a great place, but I was raising a boy and felt it wasn't quite the place for such a task, so we moved to Tokyo; that said, I have a lingering affection for Nara, and even today I often think that I would love to build a small house and live there again."
Japanese: 「奈良はいい所だが、男の児を育てるには何か物足りぬものを感じ、東京へ引っ越してきたが、私自身には未練があり、今でも小さな家でも建てて、もう一度住んでみたい気がしている」
English: He was worshipped by the literary youth of the time and was called a "god of novels" after his representative work, "The Shopboy's God"; however, he was offended by Osamu DAZAI's criticism of him in DAZAI's full-length novel "Tsugaru," and attacked him viciously at a round-table discussion.
Japanese: 当時の文学青年から崇拝され、代表作「小僧の神様」にかけて「比喩としての「神様」「神」一覧」に擬せられていたが、太宰治から長篇小説『津軽』の中で批判を受けて立腹し、座談会の席上で太宰を激しく攻撃した。
English: DAZAI fought back against SHIGA's attack by writing "Myozegamon," a serialized critical essay.
Japanese: これに対して太宰も連載評論「如是我聞」を書いて志賀に反撃したことがある。
English: However, SHIGA criticized the partisanship of the proletarian literature, pointing out that many writers of proletarian literature were strongly influenced by the communist party, and described proletarian literature as "literature with a master."
Japanese: しかし、多くのプロレタリア文学作家が共産党の強い影響下にあることを指摘して「主人持ちの文学」と評し、プロレタリア文学の党派性を批判した。
English: He later retracted his remark somewhat in a 1935 interview after Kobayashi's death; in effect, he offered the comment that as long as a work touches people's hearts, it doesn't matter whether it has a master or not (Yamaji KISHI was the interviewer).
Japanese: その後、小林没後の1935年のインタビューでは、人をうつ力があれば主人持ちでもかまわないという趣旨の発言をしている（聞き手は貴司山治）。
English: He lent his name to The New Japanese Literature Society as a supporting member for a period of time after the war; however, he objected to the writing of Shigeharu NAKANO and resigned his position as a supporting member.
Japanese: また、戦後一時期新日本文学会の賛助会員として名を連ねたが、中野重治が発表した文章に不快感をおぼえ、賛助会員を辞退したということもあった。
English: He published short essays ("The Fall of Singapore" and others) during the war, and tended to follow the militaristic trend of the time; however, after the defeat, he changed his attitude completely.
Japanese: 戦時中は短文「シンガポール陥落」等を発表して当時の軍国主義的風潮に流される傾向にあったにもかかわらず、敗戦後は掌を返したように変節。
English: He was criticized for advocating the abolishment of Japanese and adoption of French as the official language.
Japanese: 日本語を廃止してフランス語を公用語にすべしと説いたこともしばしば批判されている。
English: In contrast, Shigehiko HASUMI defended SHIGA in his writing, "Han nihongo ron (Against the Japanese Language)" and "Hyoso hihyo sengen (A Critique of the Surface Layer)."
Japanese: これに対して蓮實重彦は『反日本語論』や『表層批評宣言』などの中で志賀を擁護した。
English: Kenji NOGUCHI (1843 – February 4, 1864).
Japanese: 野口健司（のぐちけんじ、天保十四年（1843年）〜文久三年12月27日(旧暦)（1864年2月4日））。
English: He was opposed to going back to Edo and stayed in Kyoto and in March of the same year he participated in organizing Mibu-Roshigumi (Mibu masterless warriors group).
Japanese: 江戸帰還に反対して京都に残留して、同年3月の壬生浪士組結成に参画する。
English: He is regarded as one of the Mitoha group (Serizawa group) of Kamo SERIZAWA, Nishiki NIIMI, Jusuke HIRAMA, Goro HIRAYAMA, because he was from the Mito Domain.
Japanese: 水戸藩出身であったために芹沢鴨、新見錦、平間重助、平山五郎ら水戸派（芹沢派）の一人とされている。
English: It is considered that Noguchi was acting with Serizawa together and involved in the Osaka wrestlers brawl incident and the Yamatoya fire attack incident which Serizawa caused.
Japanese: 野口は芹沢と行動を共にして、芹沢が引き起こした乱行である大坂力士の乱闘、大和屋焼き打ちに関与したと見なされている。
English: In October of the same year, Serizawa and Hirayama were assassinated by the Shieikanha group (the group of Isami KONDO), and Hirama escaped.
Japanese: 同年9月、芹沢と平山は試衛館派（近藤勇派）によって暗殺され、平間は逃亡した。
English: Among the Mitoha group, only Noguchi wasn't purged and stayed in the troop as one of its leaders.
Japanese: 水戸派のうち野口だけは粛清されず、その後も幹部の一人として隊に残留している。
English: Because Noguchi didn't leave any trace of escape after the purge of the Serizawa faction, it is considered that he didn't know the fact or he had no objection to the new organization under Isami KONDO.
Japanese: 芹沢粛清事件後も逃亡の形跡がないことから、その真相を知らなかったか、野口自身は近藤勇による新体制に異存がなかったものと捉えられている。
English: Also it is assumed that it was one of the reasons why he wasn't purged that Nagakura from the Shieikanha group was one of his fellow disciples of swordsmanship.
Japanese: 剣術の同門に試衛館派の永倉がいたことも、この時には粛清されなかった理由と推察される。