nntsuzu/KFTT huggingface dataset:
English: However, on August, 1990 in a farewell party for Yosaburo TAKEKOSHI, who is going to Europe, one of the guest speakers, Midori KOMATSU stood and made a funny speech about being haikara, in which he said that a majority of the world were using the word haikara as a meaning of derision (pp.67-68), but it was not true, rather it meant being civilized or a clean, noble character of a person.
Japanese: 然るに、三十三年八月、築地のメトロポールホテルに於て、竹越与三郎氏の洋行送別会を開きたる時、来客代る代る起ちて演説を試みたりしが、其の際、小松緑氏起ちて、ハイカラーといふに就いて一場の演説を試み、世間多くは、ハイカラーを嘲笑の意味（p67/p68）に用ゆれども、決して左には非ず、ハイカラーは文明的にして、其の人物の清く高きを顕はすものなり。
English: In fact Mr. ISHIKAWA, who attacks haikara, is here in this evening party in high collar clothes, and the speech set the house laughing.
Japanese: 現に、平生はハイカラーを攻撃する石川氏の如きも、今夕は非常のハイカラーを着け居るに非ずや云々と滑稽演説を試みて、満場の哄笑を博したり。
English: Since the article appeared in various newspapers, the word haikara has been popular.
Japanese: その記事、各新聞紙上に現はれて以来、ハイカラーといふ語の流行を来すに至れり。
English: At first the word was used to mean affectation, impudence and so on like calling hikara an affected manner of dividing or cutting hair, or abusing too long hisashigami as haikara, but as Mr. KOMATSU predicted, the word has widened its meaning including a fashionable person or being up-to-date and it has become a popular word both in the upper social class and in the lower social class.
Japanese: 最初は、この語を、気障生意気などの意に用ひ、髮の分け方苅り込方の気障なるをも、ハイカラと冷評し、女の庇髪の出過ぎたるをもハイカラと罵倒したりしが、小松氏の言、讖＜しん＞をなせしにや、終には、其義を引伸して、洒落者、或は最新式などの義にも用ひ、社会上下を通じて、一般の流行語となれり。
English: A particularly interesting thing is that even elementary school kids sometimes say that a so and so person is haikara because he or she has a mitsudo or a coat on.
Japanese: 特に可笑きは、小学の児童まで、何某はミツドを持ちたればハイカラなり、外套着たればハイカラなりなど言ふこと珍しからず。
English: Speaking of a strange word reminds me of the Rotan (Russian Spy) bribery case at the early Russo-Japanese War, and after this people temporarily abused others, saying rotan rotan.
Japanese: 奇語にて思ひ出せしが、日露戦争の初め、露探事件とて、大疑獄起こりたりしが、これより後、他人を悪罵するに、露探々々といふこと一時行はれたりし。
English: I've heard that in theaters some people, angry at a long intermission, start shouting "rotan rotan" (pp.68-69)
Japanese: 芝居に行き、幕間長きを憤りてさへ、「早く幕明けないと、露探々々」など、罵る者ありしを聴きしことあ（p68/p69）り。
English: We should know that among temporarily popular words there are some unimaginable strange words that came out by chance.
Japanese: 一時の流行語には、一寸せし機会より生ぜし、想像外の奇語あるを知るべし。
English: This passage is rerecorded in the "Revised and Enlarged Meiji Jibutsu Kigen", in which there are only a few revisions such as deletions of Mr. from personal names and partial adding the case making particle "no".
Japanese: なお、この一文は1926年発行の『増訂明治事物起源』（p20）にも再録されているが、人名から「氏」が削除されたほか、一部に格助詞の「の」が補われるなどの僅かな改訂がある。
English: Yosaburo TAKEKOSHI, for whom a farewell party that triggered the word haikara to become popular was given on August 10, 1990, refers shortly to the party and the word haikara in the chapter of "Kinmochi SAIONJI Sensei" of his book "Heishu Josanki".
Japanese: ハイカラという語の流行のきっかけとなった1900年（明治33）8月10日送別会の主である竹越与三郎が、その著『萍聚絮散記』の「西園寺公望先生」の章で、でこの送別会とハイカラの語について短く触れている部分がある。
English: It is quoted below (ib. pp. 125-126 and an old-style kanji are changed into new-style kanji):
Japanese: それを下に引用する（同書p125-126、旧漢字は新漢字に変更してある）：
English: There is a phrase in the passage that "while I was studying abroad the word high collar (haikara) party started to appear in the newspapers", however, in fact, as mentioned above, the word haikara had been used by Hanzan ISHIKAWA long before the TAKEKOSHI's farewell party.
Japanese: 文中に「余が外遊中、高襟党なる文字新聞に現はれて」とあるが、実際には竹越の送別会よりずっと以前から石川半山が新聞紙上で使っていたのは上記のとおりである。
English: However, this passage, on the contrary, proves Kendo ISHII's theory that the farewell party for TAKEKOSHI triggered the word haikara to become popular.
Japanese: しかし逆にこの一文は、竹越の送別会の新聞記事がきっかけとなって流行したという石井研堂の説を裏付ける。
English: But the earliest performance ever recorded was in 1465, which means it was the work when he was fifteen according to the latest findings that Nobumitsu was born in 1450, and it is not convincing.
Japanese: が、記録に残る最古の上演記録は寛正6年（1465年）で、信光の生年が1450年という最近の研究成果によると15歳の作ということになり不自然。
English: It depicts an anecdote that MINAMOTO no Yoshitsune and his servants were stopped at the Ataka barrier station by a barrier keeper on the way they fled to the Oshu area, and Benkei read out a false kanjincho (a prospectus to gather donation for establishing a temple), which led them to get away from the situation.
Japanese: 源義経主従が奥州に落ちる途中、安宅の関で関守にとめられ、弁慶がいつわりの勧進帳（寺院などの建立にあたって寄進を集めるための公認の趣意書）を読んでその場を逃れた逸話を描く。
English: It is a classic of Yoshitsunemono (plays about MINAMOTO no Yoshitsune) which later expanded to joruri (dramatic narrative chanted to a shamisen accompaniment), kabuki (traditional drama performed by male actors) and so forth.
Japanese: 後世、浄瑠璃、歌舞伎などに展開してゆく義経物（判官物とも）の代表的作品。
English: The anecdote that Yoshitsune and his servants disguised as yamabushi (mountain priests) and headed for Oshu is based on "Azuma Kagami" (The Mirror of the East), "Genpei Seisui ki" (Rise and Fall of the Minamoto and the Taira clans), "Gikeiki" and so forth.
Japanese: 義経主従が山伏に変装して奥州に下向する逸話は『吾妻鏡』、『源平盛衰記』、『義経記』などに拠っている。
English: But the scene of reading out kanjincho at the Ataka barrier was seen in this work for the first time, and this seems to be the writer's original.
Japanese: が、安宅の関での勧進帳の読み上げはこの作品ではじめてみられ、作者の創作と思われる。
English: There are a lot of highlights; the tension of the dialogue between Benkei and Togashi; the splendor of reading out kanjincho; the scene that a limping yamabushi (Yoshitsune in fact) is suspected when they pretend to get away, and Benkei hits his own master hard with a cane; Benkei's dance at the very last feast scene and so forth.
Japanese: 弁慶と富樫のやりとりの緊張感、勧進帳の読み上げの見事さ、一旦逃れられると思わせて足弱の山伏（実は義経）が見とがめられ、弁慶が思い切り主を杖で打つ場面、最期の酒宴の場の弁慶の舞など、見所が多い。
English: Although it is a one-act without intermission, it can be separated into five scenes; 'Trip to Ataka,' 'Reading out kanjincho,' 'Thrashing Yoshitsune,' 'Dialogue between the master and the servant getting out of trouble' and 'Feast after Togashi runs after them.'
Japanese: 中入りなしの一段ものだが、「安宅までの道行」「勧進帳読み上げ」「義経打擲(ちょうちゃく)」「難を逃れた主従の対話」「富樫が追ってきて酒宴になる」の五場にわけられよう。
English: He leaves an order to inform him if yamabushi pass because Yoshitsune and his party are on the run in the costume of yamabushi, and moves to waki-za (secondary actor's seat).
Japanese: 義経一行が山伏姿で逃亡しているので、もし山伏が通ったら報告せよといいおいて、ワキ座に控える。
English: Now Yoshitsune, Benkei, other servants of Yoshitsune and Goriki, 12 men in total appear in the costume of yamabushi from the hashigakari (bridge-form passageway to the main stage).
Japanese: 一方、義経と弁慶、その他義経の家来、強力の総勢十二人が、山伏姿で橋懸(はしがかり)から登場。
English: It's a song saying that they left the capital on February 10, passed through the Osaka Barrier to Omi, crossed Lake Biwa to Kaizu by ship, crossed Mt. Aruchi to reach the seashore of Kei (present Tsuruga City, Fukui Prefecture), passed Echizen Province, and arrived Ataku in Kaga Province in the flower season.
Japanese: 二月十日に都をでて、逢坂関から近江にぬけ、琵琶湖を船で海津までわたり、有乳山をこえて気比の海（今の福井県敦賀市）にたどりつき、越前国をとおって、花の季節に加賀国安宅についたという謡である。
English: In that place, they hear the news that a new barrier has been established there and that yamabushi are investigated, and they talk over how to pass it.
Japanese: その地で、ここに新しい関所ができ、山伏を詮議しているという情報を聞き、どうして通ろうかという相談になる。
English: Against a strong opinion to break it through, Benkei advises, 'Though it is easy to break through this barrier, it is best not to make a scene now, thinking about the further travel.'
Japanese: 打ち破って通ろうという強硬な意見に、弁慶は「この関を打ち破るのは簡単だが、のちの行程を考えて今は事をおこさないのが上策」と進言する。
English: Then Benkei says to Yoshitsune, 'Please carry the baggage of Goriki on your back, and follow us with a weary look at the tail end,' and he orders the real Goriki to see the situation.
Japanese: そこで弁慶は義経に「強力の荷物を背負い、いちばん後ろからくたびれた様子でついてきてください」と言い、そして本物の強力に対して様子を探ってこいと命じる。
English: Benkei answers, 'We are priests dispatched to the Hokurikiudo area on a mission to reconstruct Nara Todai-ji Temple.'
Japanese: 弁慶は「われらは奈良東大寺の再建のために北陸道につかわされた僧である」と答える。
English: Yoshitsune, who fell out with MINAMOTO no Yoritomo, has left the capital in the costume of yamabushi, relying on FUJIWARA no Hidehira in Oshu.'
Japanese: 「源頼朝と不仲になられた義経が奥州の藤原秀衡をたよって山伏の姿で下向している。」
English: Benkei talks to himself, 'how could we possibly have kanjincho?'
Japanese: 弁慶は「もとより勧進帳あらばこそ（もともと勧進帳などあるはずもない）」と独白。
English: Feeling a regret that the sacred ground of Vairocana (which means Todai-ji Temple), which Emperor Shomu's beloved wife established, is to be ruined, Chogen SHUNJOBO visits various regions for kanjin (collecting contribution).'
Japanese: 「聖武天皇最愛の夫人が建立せられた盧遮那仏の霊場（東大寺のこと）が絶えようとしていることを惜しみ、俊乗坊重源が諸国を勧進（寄付をつのること）してまわっている。」
English: If contributing even just a little, you will get extraordinary comfort in this world, and will sit on the thousands of lotuses (in the paradise) in the after life.'
Japanese: 「もし一紙半銭なりと奉れば、この世では無比の楽を得、来世では数千の蓮の上に座すことになる。」
English: The way he reads aloud is so brilliant that the officers at the barrier are surprised and feared, and decide to let the party pass.
Japanese: その読み上げがいかにも見事であるので、関の人々はおどろきおそれて一行を通そうとした。
English: The yamabushi party becomes unsettled by the emergency that their master is suspected, but Benkei holds them back and asks a question.'
Japanese: 山伏一行はこの君をあやしまれては一大事と色めき立つが、弁慶は一同をとどめてたずねる。
English: It's shameful that you were out of luck and even hit by my cane.'
Japanese: 「御運がつきて弁慶の杖にもあたられたこと、まことに情けない思いです。」
English: Yoshitsune starts to sing, 'It was a mysterious experience that we got out of trouble today,' and his servants all shed tears.
Japanese: 義経は「今日の難をのがれたのも不思議なこと」と謡いはじめ、家来一同は涙をながす。
English: I was born in a samurai family, followed the order of Yoritomo, went after the Taira family, fought them at the Saikai (Seto Inland Sea), camped out in the fields and mountains, and destroyed the enemy.'
Japanese: 「弓馬の家に生まれて頼朝の命にしたがい、平家を追って西海に戦い、山野に野営し、敵をほろぼしたのに。」
English: I know that a wish cannot be realized in this world, but honest people suffer and those who slander gain power.'
Japanese: 「思うことがかなわないのが憂き世だとは知るものの、まっすぐな人は苦しんで、讒言をするものは勢いを得る。」
English: At the hashigakari, Togashi calls and orders the sword bearer to go ahead to tell the yamabushi that he wants to give them sake.
Japanese: 橋懸で富樫が太刀持ちを呼び、さっきの山伏に酒を贈りたいので、さきにいってそのことを告げてこいと命じる。
English: It's the following utai from an Imayo (late-Heian-era popular ballad), starting with 'a waterfall sounds, and it never dies even though the sun shines.'
Japanese: 「鳴るは滝の水　日は照るとも絶えずとうたり」という今様からの、以下のような謡である。
English: We are leaving. Good-bye. We feel that we have finally survived a dangerous situation, and head for the Mutsu Province.'
Japanese: 「いとま申してさらばよとて（中略）虎の尾を踏み毒蛇の口を逃れたる心地して、陸奥の国へぞ下りける」
English: Kabuki "Kanjincho": It was performed for the first time in 1840, and it is one of the kabuki juhachiban (eighteen best plays of the Ichikawa family of kabuki actors).
Japanese: 歌舞伎『勧進帳』　天保11年（1840年）初演　歌舞伎十八番のひとつ
English: Ningyo joruri (traditional Japanese puppet theater) "Kanjincho": It was performed based on the Kabuki piece for the first time in 1895.
Japanese: 人形浄瑠璃『勧進帳』　歌舞伎作品をもとに明治28年（1895年）初演
English: This story is more famous as "Kanjincho" in Kabuki or Ningyo joruri (also called bunraku) rather than as "Ataka" in Noh play.
Japanese: この話の内容は、能の『安宅』としてより、歌舞伎や人形浄瑠璃（文楽）の『勧進帳』として有名。
English: As mentioned in the section of "Kanjincho," Togashi is one of the main characters of the story in "Kanjincho," but Benkei is basically one and only main character in "Ataka."
Japanese: 『勧進帳』の項目にも書かれているとおり、『勧進帳』では富樫が話の一方の主役となるのに対し、『安宅』では基本的に弁慶一人が主人公である。
English: In the Edo Period, breaking through a barrier was a felony, and even the barrier keeper (Togashi in this case) was subject to severe punishment.
Japanese: 江戸時代では関所破りは重罪で関守（この場合富樫）にも重い罪科が科せられた。
English: On the other hand, in the Muromachi Period when "Ataka" was believed to be accomplished and in the Kamakura Period in the story, it was not so serious crime and the control of gokenin (an immediate vassal of the shogunate in the Kamakura and Muromachi through Edo periods)by bakufu (Japanese feudal government headed by a shogun) was not so strict.
Japanese: それに対し、『安宅』が成立したと考えられる室町時代や作中の時代である鎌倉時代ではそれほど重い罪ではなく、また幕府による御家人の統制もそれほど厳しくはなかった。
English: Therefore the image of Togashi in "Kanjincho" as 'a compassionate person who was touched by Benkei's worship for his master and let Yoshitsune and his party pass without regard to the possibility that he would be subject to punishment' was not added to "Ataka."
Japanese: そのため、『勧進帳』の「弁慶の主人を思う心に打たれ、自らが罪に問われる可能性を省みず義経一行を通した、情の厚い人物」という富樫像は『安宅』に付加されなかったのである。
English: You can find Sanpitsu (three brushes) in each period in history, but no-one left more of a mark on subsequent ages than the Sanseki.
Japanese: 三筆は各時代にいるが、この三跡ほどの影響を後世まで与えた人物はいない。
English: There is a well-known way to remember who the Sanseki are using yusoku-yomi: 'Mahotsukai Sari (Sari) no papa ga tofu (Tofu) wo kauzei (Kozei)' (this is the name of an episode of a famous Japanese anime series called "Sally the Witch"; it means "Sally the Witch's daddy buys some tofu").
Japanese: 三蹟の覚え方としては、有職読みを使った「魔法使いサリー（サリ）ちゃんのパパがとうふ（トウフウ）を買うぜい（コウゼイ）」が有名である。
English: It was established with Princess Kikuko, the wife of Imperial Prince Nobuhito as the Honorary President and Honorary Vice-President in 1966.
Japanese: 1966年に宣仁親王妃喜久子を総裁名誉総裁・名誉副総裁として設立された。
English: To the first executive office responsible for the actual management, nominated were Senei IKENOBO (Ikenobo School) as Vice Chairperson, Sofu TESHIGAHARA (Sogetsuryu) as Administrative Director, Houn OHARA (Ohararyu) as Deputy Administrative Director, and Tadao YAMAMOTO (Ikenobo) as Consultant.
Japanese: 実際の運営をになう初代執行部としては、副会長に池坊専永（池坊）、理事長に勅使河原蒼風（草月流）、副理事長に小原豊雲（小原流）、相談役に山本忠男（池坊）が就任した。
English: More than 300 flower arrangement schools are registered and the total number of the members is more than 4,000 (East 2,392, West 1,786 as of 2007).
Japanese: 300を越える華道流派が登録しており、会員数は4,000名以上（東部　2,392名　西部1,786名／2007年時点）。
English: The association has both eastern and western offices in Japan: the former is at Yuraku-cho, Chiyoda Ward, Tokyo and the latter is at Koraibashi, Chuo Ward, Osaka City.
Japanese: 日本の東部と西部に分かれており、東部の事務局は東京都千代田区有楽町、西部の事務局は大阪市中央区(大阪市)高麗橋にある。
English: While it is Kyoujomono (story of a madwoman) of a young girl, there is no part of kurui (a Noh dance pattern which expresses the disturbed heart).
Japanese: 紅入り（若い娘）の狂女物だが、クルイ（激し乱れた心を表現する舞のパターン）の部分がない。
English: "Hanjo" came from Ban Jie Yu of China.
Japanese: 「班女」の謂れは中国の班婕妤（はんしょうよ、「しょう」は女偏に捷の右側、「よ」は女偏に予）である。
English: Since she was taken from the Emperor's love by Cho Hien, she composed a poem, "Yuan ge Xing," in which she likens herself to a fan in autumn.
Japanese: 趙飛燕にその座を奪われれ、捨てられた我が身を秋の扇になぞらえて詩『怨歌行』を作った。
English: At Kyogen kuchiake (showing first the details of characters and circumstances in Kyogen play), Ai (the role of a kyogen actor in Noh) quickly explains the origin of the name, Hanjo, and her love with Yoshida no Shosho.
Japanese: 狂言口開でアイによって班女の名の由来と、吉田の少将との恋がてきぱきと説明される。
English: The waki (supporting role) (Yoshida no Shosho) appeared and explained that he came to Nogami from Kyoto again.
Japanese: ワキ（吉田の少将）が現われ、都からまた野上に来たと道行きを説明する。
English: She lamented for unobtainable love; however onlookers at a shrine teased her, saying "show your craziness today and amuse us."
Japanese: 恋に泣く身を『いかに狂女なにとてけふは狂はぬぞ面白ろう狂ひ候へ』などと神社で見物人にからかわれる始末である。
English: With his fan recalling her lover, Hanjo danced Jo-no-mai (introductory dance) (Naka-no-mai [middle dance] at the present day) with the Noh chant citing many old Chinese writings.
Japanese: 形見の扇に恋人を偲び中国の古籍をふんだんに引用した謡とともに序ノ舞（現在では中ノ舞）を舞う班女。
English: The man talked to her (originally, letting subordinate talk), but she refused him because "it is a remembrance token of beloved man."
Japanese: 男は（オリジナルではツレを介して）声をかけるが「これは愛しい人の形見だから」と拒否される。
English: 『それぞと知られ白雪の、扇のつまの形見こそ、妹背の中の情なれ、妹背の中の情なれ。』(Tome-hyoshi [closing stamps]).
Japanese: 『それぞと知られ白雪の、扇のつまの形見こそ、妹背の中の情なれ、妹背の中の情なれ。』（トメ拍子）。
English: Noh chants are quoted from the sixth line of p.344 and the last of two lines of p.347, in the fourth printing of the same document.
Japanese: 謡の引用部分は同書第四刷、p.344,第六行及びp.347,最終二行。
English: The name of the play appears in the "Sarugaku Dangi" (Talks about Sarugaku) and a performance by Onami was recorded in the "Tadasugawara Kanjin Sarugaku-ki."
Japanese: 『申楽談儀』に曲名が出ており『糺河原勧進猿楽記』には音阿弥による上演記録がある。
English: The play, which depicts the sadness of a wife left at home during her husband's absence and uses the theme of late fall, verse and fushizuke (melody) to express melancholy, has been popular since early times.
Japanese: 夫の留守宅を守る妻の悲しみが描かれており、詞章、節づけともに晩秋のものがなしさを表現して、古来人々に好まれてきた能である。
English: The title 'Kinuta' means a wooden or stone block for pounding cloth to make it soft and bring out the luster.
Japanese: なお、タイトルの「砧」とは木槌で衣の生地を打ってやわらかくしたり、つやをだしたりする道具のこと。
English: The motif of the kinuta together with the element of the fan in fall symbolize the loneliness of a forgotten woman and her grudge against the person who forgot her.
Japanese: 秋の扇とともに、砧という「モノ」は、忘れられた女性の寂しさと、忘れ去った者に対する恨みを表徴する。
English: The symbols first used in the piece were later developed in the sokyoku (koto music) Kinuta amongst other works.
Japanese: この作品はその表徴を早い時期にだしてきたもので、後年、箏曲「砧」などに発展してゆく。
English: Although 'kinuta' and 'kinuta utsu' directly refer to the tool called the kinuta and the action of pounding the kinuta respectively, the words are used to evoke the touching sentiment of the Noh play.
Japanese: これは直接には砧という道具、あるいは砧を打つ行為であるが、その背後にこの能の情趣が当然に想起されるものとして使用される。
English: In the 1960s the composer Hiroshi OGURI used the play as inspiration when he composed the piece of music 'Toi' (Pounding Cloth) for soprano, piano and tsuzumi (hand drum).
Japanese: この「砧」を素材として、作曲家大栗裕が1960年代に「擣衣(とうい)」というソプラノとピアノと鼓のための作品を書いている。
English: On the strong recommendation of a conductor, Takashi ASAHINA, the music was later revised to be for soprano and orchestral music, and it was played at "Fall in Osaka" International Contemporary Music Festival in 1969.
Japanese: 後に指揮者朝比奈隆の強い勧めによってソプラノと管弦楽のための作品へと改訂され、1969年の「大阪の秋」国際現代音楽祭で演奏されている。
English: In the style of play called Fukushiki Mugen-Noh, at first a seemingly mysterious person appears on the stage, and then is found to be a ghost at the end of the first part.
Japanese: 通常「複式夢幻能」では、まずいわくありげな人物が登場し、前段のおわりでそれが亡霊であったことが判明する。
English: In the latter section, the character appears again in a form that makes the audience imagine what he was like before death.
Japanese: 後段でさきほどの人物が、生前をおもいおこさせるような姿になってでてくる。
English: Unlike in Fukushiki Mugen-Noh, in Kinuta the heroine appearing on stage in the opening scene dies at the end of the first part, and then appears again as a ghost in the latter part.
Japanese: 砧はそれらとは異なり、冒頭の登場時点では生きている女主人公が、前段のおわりで亡くなってしまい、後半で亡霊になってあらわれるという構成をとる。
English: Kinuta adopts a style combining Genzai Noh, which deals with human dramas in the real world, and Fukushiki Mugen-Noh.
Japanese: 生きた人間のドラマをあつかう「現在能」と、「複式夢幻能」を複合したような形式である。
English: Note: sentences cited here (usually shown in italics) are quoted from the yokyoku (Noh song) text.
Japanese: （注cite要素内の文章<通常は斜体で表示される>でしめした部分は、謡曲本文(ほんもん)の引用である。
English: Although the quotations were referenced from the "Yokyoku Taikan" (a complete anthology of Noh plays), some characters have been converted into modern Chinese characters and punctuation marks have been added for readability.
Japanese: なお引用にあたってはおもに参考文献にあげた『謡曲大観』を参照しているが、読解の容易から適宜漢字変換、句読点を追加した）
English: So, return home ahead of me to tell my wife that I will be back to Ashiya and Chikuzen Province at the end of this year.'
Japanese: 「この年末には筑前芦屋に帰るから、さきにかえって妻にそのことを伝えてきなさい。」
English: When she arrives in Ashiya in Chikuzen Province and asks a servant to take her at the residence of Mr. So-and-so, the wife of Mr. So-and-so enters the stage from the hashigakari (bridge-form passageway).
Japanese: 筑前の国芦屋の里につき、何某の邸で案内を請うと、橋懸(はしがかり)から、何某の妻が登場する。
English: Yugiri says that he wanted to return home but stayed in Kyoto for three years against his will because he was busy with the imperial court service.
Japanese: 夕霧は帰ってきたかったのだが、宮仕えでひまがなくて心外にも三年間都に滞在したと述べる。
English: The wife complains about her lonely rural life and then the jiutai (Noh chorus) sings of the wife's feelings, saying as follows.
Japanese: 妻は、人目も草も枯れ果てた田舎暮らしのつらさを訴え、地謡（コーラス）がその妻の心を以下のように謡う。
English: I was left with only memories, and nothing is left of what we had before.'
Japanese: ｢思い出だけが残り、昔のことはあとかたもなく変わってしまったのだ。」
English: If there were no lies in the world a word might have been sufficient to make me happy, but I am a fool to wait for my husband, relying on his word that he will be back soon.'
Japanese: 「人の世に偽りというものがなければ、言葉というのは嬉しいものだが、すぐ帰るという夫の言葉を頼りに待つ私の心はおろかな心だ。｣
English: When the wife asks, 'What is that sound?,' Yugiri says, 'This is the sound of a kinuta pounded by the villagers.'
Japanese: 妻が｢なんの音でしょう｣と問うと、夕霧は｢里人が砧を打つ音です｣と答える。
English: It is told that long ago in China, when a man named Wu SU was abandoned in a country where the people were of a difference race, his wife and children at home climbed a koro (high tower) and pounded a kinuta because they were concerned about the cold at night in the place where he was.'
Japanese: ｢昔、中国の蘇武という人が、異民族の国におきざりにされたとき、古里の妻子は夫のいるところの夜の寒さを案じて、高楼にのぼって砧を打ったといいます。」
English: Yugiri says, 'The kinuta is pounded by people of low position, but if it calms you down, I will prepare one for you.'
Japanese: 夕霧は｢砧などというものは身分の低いものが打つものですが、お心がなぐさむのでしたら、私が用意しましょう。」と言った。
English: Both of them sit in front of the artificial kinuta brought by a koken (guardian), and then pound it while singing a song saying 'I pound the kinuta of bitterness to send my feelings.'
Japanese: そして、後見がもちだしてきた砧の作り物の前に座り、両人「思ひを述ぶる便りとぞ、恨みの砧、打つとかや｣と謡いつつ、砧を打つ。
English: As the wife pounds the kinuta, she begins to be carried away by the strength of her feelings and starts to dance to the emotionally-rich poetic verse chanted by the jiutai.
Japanese: 砧を打つにしたがって、妻の感情がたかまっていき、地謡も参加して詩情深い詞章とともに、妻が舞いはじめる。
English: She says, 'It is fall now, and I pound this to send a wind from the west to Kyoto far away, from the place of the woman whom you are not interested in.'
Japanese: ｢西より来る秋の風の吹き送れと間遠の衣打たうよ　（いまは秋、飽きられた女のところから、遠い都に、西風をおくれとばかり、砧をうとう）｣
English: If my heart reaches him and my husband dreams of me, please don't end the dream.'
Japanese: ｢わが心かよひて人に見ゆるならば、その夢を破るな（私の心が夫のもとに通じて、夫が夢をみるなら、夢よやぶれないでくれ）」
English: I wonder who would wear this clothing if the dream ends.'
Japanese: 「破れてのちはこの衣、たれかきても問ふべき（破れたならこののちは、この衣をだれが着るだろう）｣
English: My cry of sorrow blends with the singing of the insects, and tears trickle down in the stormy night.'
Japanese: ｢夜嵐　悲しみの声、蟲の音、まじりておつる露涙、ほろほろはらはらはらと（夜の嵐、悲しみの声、蟲のなく声、それらがまじりあって落ちる涙　ほろほろはらはら）」
English: When her feelings of desolation reach a peak during the dancing, the maid Yugiri stands up to pass a message to her that she has just received, and says as follows.
Japanese: 舞いながら悲しみが最高潮に達したとき、侍女夕霧が立ち上がり、伝言をきいてきた体(てい)で、以下のように言った。
English: The news has come from Kyoto just now that he will not come home at the end of the year.'
Japanese: 「いま都からこの年の暮れにもお帰りにならないと知らせがまいりました。｣
English: The heroine says, 'Oh, hoping for his return home at least at the end of the year, I have restricted my feelings and waited for him, but he has truly had a change of heart and forsaken me.'
Japanese: シテは｢ああせめて年の暮れにはと、自分の苦しい心をいつわってまっていたのに、あの方はもうほんとうに心変わりしてしまわれた。」と言った。
English: So, he sent a maid called Yugiri home to deliver the message that he will return at the end of the year and his wife was overjoyed.'
Japanese: 「そこで夕霧という侍女をつかわし、この年末には必ず帰ると伝えさせたので、奥様もおよろこびになった。」
English: To soothe her feelings of impatience in waiting for him, together with Yugiri she pounded the kinuta usually only pounded by village women.'
Japanese: 「待ちかねておられる心を少しでもなぐさめようと、里の女たちが打つ砧を夕霧とふたりで打っておいでであった。」
English: She kept her spirits up by doing so, but when she heard that he could not come home at the end of the year, she said something abnormal like 'I bet he had a change of heart,' and in the end she died.'
Japanese: 「そうして元気づけていたのだが、都からこの暮にも帰れなくなったというお知らせがとどき、女心のはかなさ、さては夫は心変わりしたかと、まともでないようなこともおおせられ、ついになくなってしまわれた。」
English: Learning of his wife's death the master soon returned home from Kyoto and his grief was great.'
Japanese: 「それを聞かれて都の殿は、さっそくお帰りになり、お嘆きは大きかった。」
English: Since she cannot be restored to life he will hold a memorial service, offering up the kinuta pounded by his wife just before her death.'
Japanese: 「が、返らぬことなので、奥様がいまわの際までうっていた砧をたむけられ、お弔いなさる。」