nntsuzu/KFTT huggingface dataset:
English: In contrast to 'kotoba zuke,' the style of the Teimon school, and 'kokoro zuke,' the style of the Danrin school, bafu was considered 'nioi zuke' (adding atmosphere).
Japanese: 貞門派の「詞付」、談林派の「心付」に対して、蕉風は「匂付」と評された。
English: Throughout the Edo period, haikai's main form was a linked-verse style, which was not changed even though people sometimes appreciated only hokku.
Japanese: 江戸時代を通じて俳諧は連句形式が主流であり、発句のみを鑑賞することがあっても変わらなかった。
English: In the Meiji period, however, Shiki MASAOKA brought the traditional literature, haikai renga, to the status of the modern haiku composed by a single poet, making hokku independent from renga.
Japanese: しかし明治時代になると、正岡子規によって、従来の座の文芸たる俳諧連歌から発句を独立させた個人の文芸として、近代の俳句が確立された。
English: After the establishment of haiku, when the traditional group literature of renga was composed as modern literature, it came to be called renku (a linked verse) in order to distinguish it from haiku.
Japanese: 俳句の成立以降は、伝統的な座の文芸たる連歌の俳諧を近代文芸として行うとき、俳句とは区別するためこれを連句と呼ぶようになった。
English: Haikai was originally composed as a part of renga, but occasionally it has been considered that only hokku became independent from renga.
Japanese: もともとは連歌として詠まれたものだが、発句のみを独立した表現とすることもある。
English: Later, the hokku for renku came to be called 'tateku,' while an independent hokku was called 'jihokku' in order to distinguish them.
Japanese: のちに連句のための発句を「立句」、単独のものを「地発句」と区別して呼ぶようになった。
English: The characteristics of haikai are that Haikai renga, or renku, is a work that should be treated as connected verses, and moreover, the composers and the audience shared the same room due to the fact that several people have to be involved in completing the verses continuously.
Japanese: また、連句としての前後のつながりを含めて作品であること、複数人で続けて句を詠みあうという表現の性格から作り手と受け手が同一空間にいることといった特色がある。
English: Therefore, the original haikai as a part of renga was appreciated from a different perspective than haiku, which appeared after the modern times.
Japanese: そのため、本来連歌としての俳諧は、近代以降の俳句と評価の視点が異なる。
English: Danrin-ha was a shool of Haikai (seventeen-syllable verse) in the Edo period, which flourished under Soin NISHIYAMA.
Japanese: 談林派（だんりんは）は、西山宗因らを中心にして江戸時代に栄えた俳諧の一派。
English: Soin NISHIYAMA, who also wrote Renga (linked verse), Saikaku IHARA, who also wrote Ukiyo Zoshi (stories of the floating world), Takamasa SUGANOYA of Kyo (Kyoto), Shoi TASHIRO of Edo and others actively participated.
Japanese: 連歌師でもあった西山宗因のほか、浮世草子作者でもある井原西鶴、京の菅野谷高政、江戸の田代松意らが活躍した。
English: TAKASHINA no Kishi/Takako (date of birth unknown -October 966) was a female poet who lived in the Heian period.
Japanese: 高階貴子（たかしなのきし・たかこ、生年不詳－長徳二年（996年）10月没）は平安時代の女流歌人。
English: She was commonly known by the name, Ko no naishi, or as a mother of Gido Sanshi.
Japanese: 通称は高内侍（こうのないし）、または儀同三司母（ぎどうさんしのはは）。
English: The daughter of KI no Yoshimitsu is known as the wife of Naritada, so if she had been Kishi's mother, she would have been descended from a noted scholar, KI no Haseo.
Japanese: 成忠室には紀淑光女が知られ、貴子はその所生だとすれば、名だたる学者・紀長谷雄の血をひくことになる。
English: She served at the Imperial court as naishi (a maid of honor to the Empress) in the reign of Emperor Enyu, and her knowledge of Chinese classics and talent for prose and poetry were so outstanding that she was invited to a banquet of poetry held in the court.
Japanese: 円融天皇朝に内侍として宮中に出仕し、漢才を愛でられ殿上の詩宴に招かれるほどであった。
English: Around the same time, she got married to Naka no Kanpaku (Middle Regent) FUJIWARA no Michitaka (953 - 995), and gave birth to three sons and four daughters who were; Minister of the Center Korechika (974 - 1010), Chunagon (vice-councilor of state) FUJIWARA no Takaie (979 - 1044), Sozu (second rank monk) Ryuen (980 - 1015), and eldest daughter, FUJIWARA no Teishi.
Japanese: おなじ頃、中関白藤原道隆（953-995年）の妻となり、内大臣伊周（974-1010年）・中納言藤原隆家（979年-1044年）・僧都隆円（980-1015年）の兄弟及び長女藤原定子を含む三男四女を生んだ。
English: Because her daughter Teishi became chugu (the second consort of an emperor) of Emperor Ichijo, she was raised from Jugoinojo (Junior Fifth Rank, Upper Grade) to Shosanmi (Senior Third Rank) on October 26, 990.
Japanese: 定子が一条天皇の中宮に立てられたため、正暦元年（990）10月26日、従五位上から正三位に昇叙。
English: Kishi's eldest son, Korechika, was also promoted quickly, being appointed Gon Dainagon (provisional major counselor) at the age of nineteen, in 992, and two years later advanced to Minister of the Center.
Japanese: 一方、貴子腹の嫡男も急速に昇進し、正暦三年十九歳にして権大納言に任ぜられ、翌々年さらに内大臣に昇った。
English: Although she was a descendant of a lower-ranking noble, she rose to a high dignified position, becoming the first wife of Kanpaku (chief adviser to the Emperor) and a mother of Chugu (the second consort of an emperor), and moreover, TAKASHINA no Naritada was raised to Junii being given the title of a chieftain, Ason.
Japanese: そのため、貴子は末流貴族の出身ながら関白の嫡妻、かつ中宮の生母として栄達し、高階成忠は従二位と朝臣の姓を賜った。
English: However, on April 10, 995, when her husband Michitaka died of disease, her sons Korechika and Takaie were defeated in a political conflict with their uncle FUJIWARA no Michinaga, and the political power shifted to Michinaga in an instant.
Japanese: ところが、長徳元年（995）4月10日に夫・道隆が病死すると、息子の伊周と隆家は叔父藤原道長との政争に敗れ、権勢は瞬く間に道長側に移った。
English: The following year, Korechika and Takaie were exiled and demoted for the crime of rebellion against Emperor Kazan; Korechika was moved down to Dazai gon no sochi (Provisional Governor-General of the Dazai-fu offices), and Takaie was to Gon no kami (Provisional Governor) of Izumo Province.
Japanese: 翌年になって、伊周と隆家は、花山天皇に矢を射掛けた罪によって大宰権帥・出雲国権守にそれぞれ左降・配流。
English: After a while, she became ill and passed away at the end of October of the same year, praying to the gods for their safety.
Japanese: その後まもなく病を得て、息子の身の上を念じながら、同年10月末に薨去した。
English: Her waka poem that was composed 'when Naka no Kanpaku started visiting her' is famous for being selected for the Ogura Haunting Isshu (the Ogura Anthology of One Hundred Tanka-poems by One Hundred Poets).
Japanese: 「中の関白かよひそめ侍りける頃」詠んだという次の和歌が小倉百人一首に採られて有名である。
English: The term "Thirty Six Immortal Women Poets" refers to the thirty-six female poets whose poems were selected for the 'Poetry Contest of the Thirty Six Lady Poets,' which was established in the middle of the Kamakura period.
Japanese: 女房三十六歌仙（にょうぼうさんじゅうろっかせん）は、鎌倉時代中期に成立した「女房三十六人歌合」に歌を採られた女性歌人三十六人を指す。
English: In this contest, the poets of the Heian period (from ONO no Komachi through Sagami) were deployed on the left-hand side and the poets of the beginning of the medieval period (from Imperial Princess Shokushi through Sohekimon-in no Shosho) were deployed on the right-hand side, and then three poems were selected per poet to have them compete against each other.
Japanese: 左方に小野小町から相模までの中古歌人を、右方に式子内親王から藻壁門院少将までの中世初頭の歌人を配し、一人三首ずつ対戦させる形式。
English: In 1144, Emperor Sutoku ordered FUJIWARA no Akisuke (1090 - 1155) to compile the anthology, and he finished and submitted it to the Emperor for inspection in 1151.
Japanese: 天養元年（1144）に崇徳天皇が下命し、藤原顕輔（1090～1155年）が撰者となって編集、仁平元年（1151）になって完成奏覧された。
English: The Sanso bon (the third revised edition) of "Kinyo Wakashu" (Kinyo Collection of Japanese Poems) did not circulate widely, so many poems collected in Shika Wakashu overlapped the ones in Kinyo Sanso bon (Sanso bon of "Kinyo Wakashu").
Japanese: また、『金葉和歌集』三奏本があまり流布しなかったため、金葉三奏本との間でかなり重複がある。
English: The style of poetry in "Shika shu"(Shika Wakashu) is diverse; it is characterized by the fresh descriptive poems, and many poems in which the authors expressed their feelings.
Japanese: 『詞花集』の歌は清新な叙景歌に特色があるほか、詠懐調の歌も多く見られ、その歌風は多様である。
English: Kinyo is the fifth Imperial anthology and Shika is the sixth; these two works have the same structure and their meanings of the titles are the same.
Japanese: 金葉と詞花は、第五、第六勅撰和歌集で、その命名の義も構成も、全く同じである。
English: Traditionally, the Imperial anthology had consisted of 20 volumes since the time of Kokin Wakashu, but they broke the custom and omitted the categories of Journey, Elegies, and Gods of Heaven and Earth, reducing the volumes of Love to two.
Japanese: 古今以来、二十巻という勅撰集の慣例を破り、羈旅・哀傷・神祇歌を省き、恋歌を二巻に縮めた。
English: Although the structure was simple, the poems were selected meticulously, therefore they look like selected gems of written expression.
Japanese: 素朴な構成だが、その分選歌には厳しく、珠玉の詞華選といった感じである。
English: The most significant difference between "Shika shu" and "Kinyo shu" is that "Kinyo shu" considered the contemporary poets to be important while "Shika shu" treated the poets around the period of Goshui Wakashu (Later Collection of Gleanings of Japanese Poetry) with respect; it is illustrated by the fact that the poets whose poems were selected most were SONE no Yoshitada (17 poems) and Izumi Shikibu (16 poems).
Japanese: 『詞花集』と『金葉集』との違いでもっとも顕著なのは、『金葉集』の近代重視に対し、『詞花集』では、最多入集歌人が曾禰好忠（17首）・和泉式部（16首）であることが示すとおり、中頃（後拾遺和歌集時代）の歌人を重視する方針をとる。
English: In principle, only one poem was selected per poet (but with a few exceptions, of course, such as the poems by Emperor Sutoku and Akisuke).
Japanese: 原則的に一人一首とした（わずかな例外は、当然なことながら崇徳院と顕輔）。
English: Kinyo Wakashu is the fifth Chokusen Wakashu (anthologies of Japanese poetry compiled by Imperial command), and it was completed before "Shika Wakashu" (Shika Collection of Japanese Poems) and after "Goshui Wakashu" (Later Collection of Gleanings of Japanese Poetry).
Japanese: 『金葉和歌集』（きんようわかしゅう）は第五番目の勅撰和歌集で、『後拾遺和歌集』の後、『詞花和歌集』の前に位置する。
English: At the end of 1124, it was first submitted to the Emperor for inspection (shodo bon, the first book), though it had deficiencies and the revised book was submitted (nido bon, the second book) around May, 1125.
Japanese: 天治元年（1124）末、初めて奏覧した（初度本）が、不備があり天治二年四月頃、改訂本を再度奏覧（二度本）。
English: However, the book was rejected again, and in 1126 or the next year it was finally accepted at the third try (sanso bon, the book submitted for inspection three times).
Japanese: しかしまた却下され、大治(日本)元年（1126）または翌年、三度奏覧してようやく嘉納された（三奏本）。
English: Thus there are three kinds of book, but most of the extant manuscripts are nido bon.
Japanese: よって三系統の本文があるが、現存する諸伝本のほとんどが二度本である。
English: Nido bon was used as the original text for making 'A New Version of Comprehensive National Poems' and 'Japanese Classic Literature Systematic Edition.'
Japanese: 「新編国歌大観」や、「日本古典文学大系」はいずれもこの二度本を底本とする。
English: It consists of 10 volumes and was classified into the categories of Spring, Summer, Autumn, Winter, Celebration, Separation, Love (two volumes) and Miscellaneous (two volumes).
Japanese: 構成は春・夏・秋・冬、賀、別、恋（上・下）、雑（上・下）の十巻である。
English: "Kinyo shu" and "Shika shu" are the only imperial anthologies that consist of just ten volumes.
Japanese: 十巻という小柄な構成の勅撰集は後にも先にもこの『金葉集』と次の『詞花集』しかない。
English: "Kinyo shu" contains more than 650 poems, though the number of poems varies among these three versions of the anthology, reflecting the complicated process of editing.
Japanese: 成立に至るまでの複雑な経緯を反映し、『金葉集』は伝本によって歌数の違いも大きいが、650首強を収める。
English: It broke from a tradition that had lasted since Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry), and contained many novel poems by contemporary poets whose style was characterized by the intention toward haiku poetry.
Japanese: 古今和歌集以来の伝統にとらわれず、同時代の歌人による新奇な作風な歌を多く取り入れ、誹諧趣向が目立つ。
English: It is true that this ushered in a new phase among poetry circles, but FUJIWARA no Toshinari later criticized that many of the poems lacked a refined style or contained too many 'jokes.'
Japanese: これが当時の歌壇に新風を吹き入れたのは確かだが、のち藤原俊成に批判される通り、「戯（ざ）れの様」が過ぎて格調を欠く歌もあった。
English: Goshui Wakashu is the fourth Chokusen Wakashu (anthology of Japanese poetry compiled by Imperial command) of the Hachidaishu (the eight Imperial anthologies of Japanese poetry), and it came out after "Shui Wakashu" (Collection of Gleanings of Japanese Poetry).
Japanese: 後拾遺和歌集（ごしゅういわかしゅう）は八代集の第四、『拾遺和歌集』の後継たるべく編まれた勅撰和歌集である。
English: In 1075, he received the imperial decree, completed the work on September 16 (in the old calendar) of 1086, and submitted it to the Emperor for inspection in October of the same year.
Japanese: 承保二年（1075年）奉勅、応徳3年（1086年）9月16日(旧暦)完成を見、同年10月奏覧された。
English: The poems were classified into the following categories based on Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry): Spring (two volumes), Summer, Autumn (two volumes), Winter, Celebration, Separation, Journey, Elegies, Love (four volumes), and Miscellaneous (six volumes).
Japanese: 構成は古今和歌集を基とし、春（上・下）、夏、秋（上・下）、冬、賀、別、羇旅、哀傷、恋（四巻）、雑（六巻）からなる。
English: These categories of 'Gods of Heaven and Earth' and 'Shakyamuni's Teachings' in the 20th volume (Zoka (Miscellaneous poems) volume six) appeared in the Imperial anthology for the first time.
Japanese: 巻二十（雑歌六）に収める「神祇」「釈教」の分類は勅撰集における初見。
English: It covers the poems which had been composed for about 130 years, the period after "Kokin" and "Gosen Wakashu" (Later Selected Collection of Japanese Poetry), which is equivalent to the reign of Emperor Murakami (946 - 967) to that of Emperor Shirakawa (1073 - 1087).
Japanese: 選歌範囲は『古今』『後撰和歌集』以後、村上天皇朝から白河朝までの約130年間である。
English: During the time when the magnificent dynastic culture began to decline, the selector compiled this collection of poetry, looking back on the splendid past.
Japanese: この歌集は、絢爛たる王朝文化が衰退しはじめた頃、華やかなりし昔を振り返ったともいうべきものである。
English: The major poets in the collection are Izumi Shikibu (sixty-seven poems), Sagami (thirty-nine poems), Akazome Emon (thirty-two poems), Noin (thirty-one poems) and ISE no Taifu (twenty-six poems).
Japanese: 主な歌人は、和泉式部（67首）・相模(歌人)（39首）・赤染衛門（32首）・能因（31首）・伊勢大輔（26首）である。
English: Talented female poets who were actively involved in the Imperial Court before and after the reign of Emperor Ichijo ranked high, and up to 30 percent of the poets in the collection were female.
Japanese: 一条天皇朝前後の宮廷で活躍した才女歌人が上位を占め、女流の比重も三割と大きい。
English: Poets from the period of Gosen (Wakashu) and Shui (Collection of Gleanings of Japanese Poems) were considered important: KIYOHARA no Motosuke, ONAKATOMI no Yoshinobu, MINAMOTO no Michinari, FUJIWARA no Nagato, and FUJIWARA no Kinto.
Japanese: ほかに、清原元輔・大中臣能宣・源道済・藤原長能・同藤原公任ら後撰・拾遺時代の歌人も重視されている。
English: The poets and styles of poetry are diverse: Izumi Shikibu wrote love poems in which she expressed her passion; Akazome Emon composed delicate zotoka (poetry exchanged between a man and a woman); poems appealing to travelers' sentiments were composed by priest poets such as Noin and Ryozen; and SONE no Yoshitada made bold and unconventional poems.
Japanese: 和泉式部の激情がほとばしる恋歌から、赤染衛門の細やかな思い遣りの贈答歌、能因・良暹ら僧侶歌人の旅情豊かな歌、曾禰好忠の大胆な型破りの歌まで、その作者・作風ともに多様である。
English: Some pointed out that the collection contained numerous lengthy forewords to poems explaining where and why they were composed, so it has prosaic character.
Japanese: また、詠歌背景を詳しく説明する長文の詞書が多く、散文的特色が指摘されている。
English: The selector of "Goshui shu," who was young, considered frank sentiments too seriously but downplayed the refined style, so upon its introduction many people criticized the anthology.
Japanese: 『後拾遺集』は、格調よりも率直な情感を重んじ過ぎたため、撰者が若輩の歌人であったこともあいまって撰進当時から批判の声が多かった。
English: For example, Dainagon (chief councilor of state) MINAMOTO no Tsunenobu (1016 - 1097), who was a leading figure in poetry circles but had not been chosen as the selector, wrote a book titled "Nan Goshui" (A Criticism on Goshui Wakashu) in order to criticize the anthology.
Japanese: たとえば、歌壇の重鎮でありながら撰者の任に漏れた大納言源経信（1016～1097年）は、『難後拾遺』を著して論難した。
English: Michitoshi had asked his seniors in the poetry circles to help him, so the draft was checked in advance by SUO no Naishi, the mother of Prince Yasusuke, and MINAMOTO no Tsunenobu.
Japanese: 通俊は歌壇の先輩たちに協力を求め、草稿本は周防内侍・康資王母・源経信らの内覧を経た。
English: He exchanged "Goshui Mondo" (A dialogue on Goshui Wakashu) with Tsunenobu, and his opinion had an influence on the reselection of poems.
Japanese: 特に経信とは『後拾遺問答』を取り交わし、経信の意見が選歌の入れ替えに影響した。
English: Even after it was completed and submitted to the Emperor, Michitoshi took "Nan Goshui" seriously and revised the anthology again in order to submit it to the Emperor for inspection.
Japanese: 一旦完成奏覧された後も、『難後拾遺』を重く見た通俊は、修訂を加えて再奏本を作成した。
English: Three poems composed by TSUMORI no Kunimoto had been selected for "Goshui shu," because TSUMORI no Kunimoto was said to have bribed Michitoshi with horse mackerel to select his poems, so the anthology was nicknamed 'Koaji shu' (a collection of horse mackerel) (according to Fukurozoshi, an essay on tanka poetry compiled by FUJIWARA no Kiyosuke).
Japanese: 津守国基の歌が『後拾遺集』に三首も入っているのは、通俊に賄賂として鰺（アジ）を贈った為だと風評され、「小鰺集」の異名を得たという（袋草紙）。
English: Makurakotoba (枕詞) is a rhetorical device which is used mainly in Japanese poetry, and the word(s) which is placed before the particular words to make pairs to adjust the tones of the words or to add to a kind of atmosphere.
Japanese: 枕詞（まくらことば）とは、主として歌に見られる修辞で、特定の語の前に置いて組となり、語調を整えたり、ある種の情緒を添える言葉のことである。
English: However, it is said that the term 'makurakotoba' itself was used to express nearly the same meaning as a proverb in the Heian period ("Kokinshujuchu" by Kensho), and that the oldest usages in the same meaning as the present day are found in the materials after the medieval period, such as "古今憧蒙抄" by Kanera ICHIJO, "日本書紀抄" by Nobukata KIYOHARA, and so on.
Japanese: ただし、「枕詞」という用語自体は平安時代には諺とほぼおなじ意味で使用されており（顕昭『古今集序注』）、現在の意味で使用されるのは一条兼良『古今憧蒙抄』、清原宣賢『日本書紀抄』など、中世以降の資料に見えるものが早いとされる。
English: Other terms, such as '次詞' (次詞, "Fukurozoshi" by FUJIWARA no Kiyosuke), 'makurakotoba' (枕言, "落書露見" by Ryoshun IMAGAWA), and 'kanji' (冠辞, "Kanjiko" by KAMO no Mabuchi) were also used to express the same meaning.
Japanese: 「次詞」（藤原清輔『袋草紙』）、「枕言」（今川了俊『落書露見』）、「冠辞」（賀茂真淵『冠辞考』）などともいわれる。
English: According to research by Kyuzo FUKUI, who collected the makurakotoba used up to the Meiji period, there are nearly 1100 types.
Japanese: 明治時代までのものを収集した福井久蔵の調査によれば、1100種近い枕詞が存在する。
English: Makurakotoba is a technique of poetry which was used as often as jokotoba (序詞) in "Manyoshu," and after the Heian period, most of makurakotoba have had nothing to do with the meaning of the poems.
Japanese: 序詞とともに『万葉集』に多用された歌の技法であり、平安時代以降の場合は、歌の意味には直接的に関係しないことが多い。
English: In "Fudoki" these instances are called 'kotowaza' (諺, which means a proverb), so it is thought that makurakotoba were treated as habitualized and fixed phrases as well as kotowaza.
Japanese: 『風土記』ではこれらの例を「諺」といっており、枕詞がことわざと同じように、習慣化した、決まり文句という扱いをうけていたことが想像される。
English: The meaning of the term is described as 'a verse in which a spirit dwells' by Masahide TAKASAKI based on his master Shinobu ORIKUCHI's opinion, about which we have talked above, but when we consider that the very term 'makurakotoba' came into existence after the medieval period, it is thought to be akin to a 'makura' (literally a 'pillow'), which means a preface, since it is positioned at the head of a poem.
Japanese: 語義については、高崎正秀が後に引く折口信夫の師説を援用して「魂の宿る詞章」と説明するが、既にふれたように、「枕詞」という用語自体が中世以降のものであることを考慮すれば、歌の一番初めに来るので、前書きの意味での「枕」に近いものと思われる。
English: In the cases of 'tobu tori no asuka' (飛ぶ鳥のアスカ) and 'haruhi no kasuga' (春日のカスガ), these makurakotoba are thought to be the reasons why 飛鳥 is read as 'asuka' and 春日 is read as 'kasuga' respectively.
Japanese: 「飛ぶ鳥〔トブトリ〕（の）　アスカ」「春日〔ハルヒ〕（の）　カスガ」のような例の場合、それぞれ飛鳥とかいて「あすか」、春日とかいて「かすが」と読むことの根拠となっている。
English: Since 'asuka' has another notation '明日香,' '飛鳥' was established on the relationship of the notation and the reading for kanji by makurakotoba.
Japanese: 「アスカ」は「明日香」とも表記されるので、「飛鳥」は枕詞によって表記と訓の関係が定まったものである。
English: Meanwhile, the origins of many makurakotoba, such as 'ashihikino' and 'nubatamano,' are unknown, although various opinions are delivered.
Japanese: 一方「あしひきの」や「ぬばたまの」のように、諸説はあるものの由来のわからない枕詞も多い。
English: They are thought to have already been fixed in the period of "Manyoshu," and to continue to be used after the precedent.
Japanese: これは『万葉集』の時代には既に固定化されていたもので、先例にならって使用され続けたものと考えられている。
English: While the beginnings of makurakotoba are unknown, but makurakotoba was thought to pair up with jokotoba.
Japanese: 枕詞の起源は明らかではないが、古くは序詞と一組のものと考えられていた。
English: For example, it is one of the typical examples that Keichu wrote 'if one says jokotoba, one speaks of long makurakotoba' ("Manyodaishoki").
Japanese: たとえば契沖が「序(詞)ト云モ枕詞ノ長キヲ云ヘリ」（『万葉代匠記』）と説明しているのが代表的な例である。
English: In recent years, Susumu NAKANISHI explains that both jokotoba and makurakotoba must be put together as an 'associated expression' and must not be distinguished too strictly.
Japanese: 近年では中西進が、序詞と枕詞をいずれも「連合表現」と括って、あまり両者を区別するべきではないと説いている。
English: But there are reasonable points that makurakotoba is regarded not to have been derived from a rhetorical device of poetry because it was found in "Fudoki," whereas jokotoba is solely a technique of poetry.
Japanese: しかし、枕詞は『風土記』などにもあるように、歌の修辞が原型でないと思われる節があるのに対して、序詞というのはもっぱら歌の技法である。
English: In early years, the origin of makurakotoba was interpreted to be the method to adjust the tones of poetry, as shown in "Kanjiko" by Mabuchi.
Japanese: 枕詞の源流については、早くは真淵の『冠辞考』のように、和歌の調子をととのえるものと理解されていた。
English: But Morohira KANO considered the verse for praising the earth highly to be the prototype of makurakotoba ('Makurakotobako'), and this idea has greatly influenced subsequent studies.
Japanese: しかし加納諸平は土地を褒めたたえる詞章が枕詞の原型であろうと（「枕詞考」）考察し、この考えが以降の研究に大きな影響を与えている。
English: Particularly in recent times, Origuchi explained that makurakotoba had derived from the proverb, had common characteristics with the words of norito (Shinto prayer), were special words which had magically signified power, had become a mere shell or dead letter in the later generations, and had changed into something like rhetorical games, and this explanation has been widely supported by the learned society.
Japanese: とくに近代になって、折口が諺を由来に持ち、祝詞の言葉などと共通性を持つ、呪力を持った特別な言葉(らいふ・いんできす)であり、それが後世になって形骸化していき、だんだんと言語遊戯的なものとなっていったと説明しており、学会では広く支持されている（）。
English: This is because there are many instances that precede and praise the names of places in "Fudoki," and most of the old makurakotoba found in Songs and music of "A Record of Ancient Matter" and "Chronicles of Japan" precede the proper nouns such as the names of places, gods, and persons and are recognized to be expressions to praise them.
Japanese: これは、『風土記』の例が地名にかかって賛美する例がおおいこと、また記紀歌謡などにみえる古い枕詞が土地や神名、あるいは人名など、固有名詞にかかる場合が多く、これらを讃美する表現とみられるためである。
English: But in Manyoshu, a lot of makurakotoba that precede common nouns or non-noun words come into use, and the ranges for their usage expand.
Japanese: これが万葉集になると、一般名詞や用言にかかる枕詞も沢山使われるようになり、範囲が増大する。
English: And down to the times when KAKINOMOTO no Hitomaro lived, there appear makurakotoba which have a negative meaning, such as 'Amazakaru Hina' (which means a foreign land that is very far from the capital), and the original framework to be the 'praising expressions' begins to vanish and makurakotoba become five-syllable phrases for modification.
Japanese: また柿本人麻呂の時代になると、「天離(あまざか)る　夷(ひな)」というような否定的な意味を持った枕詞（都から遠く離れた異郷の意）もあらわれ、「讃美表現」という元々の枠組みも失われていき、修飾する五音句というふうに移っていく。
English: There can be many factors in these changes; for example, increasing knowledge on Chinese classic books, but it is thought that the main factor is that poetry turned from the things to be sung into the things to be written.
Japanese: このような変遷をたどった要因として、漢籍の知識の増加など、いくつもの要因が考えられるが、最大のものは、歌が「歌われるもの」から「書くもの」へと動いていったということが考えられている。
English: That is to say, getting out of the time when a poem is sung loudly and disappears at once and entering the time a poem is written down and gets polished are thought to have resulted in inventing more complex and various makurakotoba.
Japanese: つまり、声の出して歌を詠み、一回的に消えていく時代から、歌を書記して推敲していく時代を迎えたことによって、より複雑で、多様な枕詞が生み出されたと考えるのである。
English: This is also proved by the fact that a large number of makurakotoba were newly created or revised by Hitomaro, who left many poems that were contained in "Manyoshu."
Japanese: これは『万葉集』に書かれた歌を多く残している人麻呂によって新作・改訂された枕詞がきわめて多いということによっても、裏付けられることであろう。
English: Basically, regarding the formation of makurakotoba, the opinions presented after Origuchi have been modifications of Origuchi's opinion.
Japanese: 基本的に枕詞の成立に関していえば、折口以来の説というのは折口説を部分修正を施していくものとなっている。
English: It can be said that Nobuyoshi FURUHASHI's study in which the origin of makurakotoba is sought in Okinawan songs is the typical one.
Japanese: 沖縄歌謡などに枕詞の源流を求める古橋信孝の研究などはその代表的なものであるといえる。