nntsuzu/KFTT huggingface dataset:
English: Kenkichi YAMAMOTO, a haiku critic, cites three things that are essential to haiku poetry in his essay, 'Aisatsu to Kokkei' (Compliments and Humor).
Japanese: 俳句評論家の山本健吉はエッセイ「挨拶と滑稽」のなかで、俳句の本質として3ヶ条をあげている。
English: These are the well-known 'Haiku is humor. Haiku is a compliment. Haiku is improvised.'
Japanese: これが有名な「俳句は滑稽なり。俳句は挨拶なり。俳句は即興なり」である。
English: Toyojo MATSUNE, in response to Emperor Taisho's question regarding haiku poetry in 1914, answered 'just like an astringent persimmon.'
Japanese: 松根東洋城は俳句について大正天皇から問われた1914年、「渋柿のごときものにては候へど」の句を奉答したという。
English: (From: 'Book of Haiku: Haikai and Haiku,' edited by Tsuguo ANDO and Ryuta IDA, Chikuma Shobo Publishers; 'A Basic Knowledge of Haiku Terms,' edited by Kokyo MURAYAMA and Kazumi YAMASHITA, Kadokawa Sensho; and 'Evidence: Haiku in Showa Period,' edited by Kokyo MURAYAMA and Kazumi YAMASHITA, Kadokawa Group Publishing Co., Ltd.)
Japanese: （出典：安東次男・飯田竜太編「俳句の本・俳諧と俳句」筑摩書房、村山古郷・山下一海編「俳句用語の基礎知識」角川選書、「証言・昭和の俳句」角川書店）
English: In 'Daini Geijutsu' (Second-Class Art) ('Sekai' Magazine, 1946), Takeo KUWABARA, a scholar of French Literature, denounced haiku as being 'a hobby enjoyed by the members of a special world they create themselves. It is merely a second-class art that is incapable of distinguishing the experts from the amateurs.'
Japanese: フランス文学研究者・桑原武夫は「第二芸術」にて（雑誌「世界」1946年）「俳句というものは同好者だけが特殊世界を作りその中で楽しむ芸事。大家と素人の区別もつかぬ第二芸術に過ぎない」と糾弾している。
English: This rhythmic pattern is something that inevitably formed from the characteristics of the Japanese language called 'kaionsetsu' (open syllable), and it should not be considered as a restriction or rule that exits solely for the haiku.
Japanese: この韻律は開音節という日本語の特質から必然的に成立したリズムであって、俳句の制約とか、規則と考えるべきではない。
English: When there is an extra syllable(s) in any of the three parts of the 5-7-5 structure, it is referred to as jiamari (literally, extra characters).
Japanese: 五の部分が6音以上に、または七の部分が8音以上になることを字余りという。
English: For example, 'Basho hears the storm at night through a basin' by Basho MATSUO, is a case of jiamari with 8-7-5 syllables.
Japanese: 例えば　「芭蕉野分して盥に雨を聞く夜かな」松尾芭蕉　は8・7・5で、上5が8の字余りである。
English: There are other works that do not fit into the 5-7-5 form, such as those with less than the fixed number of syllables and those with overlapping verses.
Japanese: そのほか字足らず、句またがりなど5・7・5定型に収まらない作品もある。
English: Furthermore, there exist 'jiyuritsu-haiku' (rule-free haiku) whose proponents argue that haiku does not have a set form and that each verse should have its own rule.
Japanese: さらに、俳句は定型詩ではないとして一句一律を唱える自由律俳句も存在する。
English: Perhaps it is a tradition from the era of waka (a traditional Japanese poem of thirty-one syllables), jiamari is oftentimes allowed for a vowel or a hatsuon (the 'n' or 'm' sound).
Japanese: 和歌の時代からの伝統であろうが、字余りがゆるされるのは母音ないし撥音が含まれる場合が多い。
English: For example, the tradition of representing 'hon-i' as 'ho-i' signifies that the hatsuon was not treated as a separate and distinct syllable.
Japanese: 例えば本位を「ほい」と表記する伝統は撥音が一音としては不足していることを表すだろう。
English: Also, verbs such as 得 (u) that are of a single vowel with no consonants may have been insufficient to be considered a syllable within the haiku as well.
Japanese: ア行で活用する動詞が「得（う）」一語なのも母音だけでは語としてなにがしかの不足感をその当時の人々が感じていたからではなかろうか。
English: Various views exist concerning seasonal references, such as the necessity of a kigo insisted by the uki (kigo zettai) (absolute inclusion of seasonal reference) school, the importance of a 'kikan' (sense of the seasons) backed by the kikan school, and the tolerance of muki (no seasonal reference) by the muki school who believe that the muki haiku can create a far stronger sentiment than the traditional haiku.
Japanese: 季語を必ず入れなければならないとする有季（季語絶対）派から季語よりも季感が大切とする「季感」派、無季でもよいとする無季容認、無季俳句が旧来の俳句的情趣を打破するという「無季」派まで、さまざまな考え方がある。
English: Hiromu MATSUDA says in "Introduction to Haiku: Pleasure of Writing for Sixteen Weeks" (Shinsei Publishing Company), 'Is is alright for a haiku to not include a kigo? No. I believe that it should have a kigo. In haiku, the "kigo" plays an important role. The kigo creates a symbolic image. You can call this the power of evocation. It also has a role in greatly expanding time and space.'
Japanese: 松田ひろむは、「俳句に季語はあってもなくてもいいのでしょうか。そうではありません。はっきりいって季語はあったほうがいいのです。俳句にとって『季語』は大きな役割を果たします。季語は象徴となるイメージを与えてくれるのです。これを連想力といってもいいでしょう。また時間と空間を大きく広げる役割があるのです」（『入門詠んで楽しむ俳句16週間』新星出版社）という。
English: Sunao HASHIMOTO made a keynote presentation called 'Kigo's Present - Transition and Generation of the Original Meaning, and Its Future' at the Youth Workshop of the Modern Haiku Society in March, 2006.
Japanese: また橋本直は2006年3月の現代俳句協会青年部勉強会で「季語の現在─本意の変遷と生成、その未来」の基調報告を行なった。
English: There, he reached out to audience and asked them to think about the role of the kigo by stating, 'The original role of the kigo and the kidai (seasonal theme) is to draw out the diachronic or synchronic functionality of the poem, and not to act as a yoke to constrain freedom.'
Japanese: そこで「本来の季語、季題の役割は、通時的／共時的な詩的機能を引き出すためのものであって、あたかも軛のごとく自由を束縛するものではない」と問題を提起している。
English: It appears as though the poets who emphasize the muki style and are free from the traditional fixed style are, in general, more deeply interested in studying the role of the kigo when compared to those of the fixed style, uki school.
Japanese: このように総じて有季定型派よりも無季、自由律に眼を向けた俳人のほうがより深く季語の役割について考えをすすめている。
English: However, it is the complacency of those who believe in the absolute inclusion of the kigo or the kidai that detracts from the potency of the poems.
Japanese: 有季絶対派は「季語・季題があればいい」として、かえって緊張感を欠いているともいえよう。
English: The hokku of a haikai showed respect toward the moment in time and space in a condensed form.'
Japanese: また「俳諧の発句はその場に対する挨拶の意味を濃厚に含んでいたからである」とする。
English: However, modern-day haiku poetry has developed into something that is different from 'the hokku of a haikai.'
Japanese: しかし、現代の俳句は「俳諧の発句」とは異なるものとして発展してきている。
English: As for whether the kigo actually represented the sense of the seasons, according to the haikai of the danrin school, there was an aspect to them in which a sense of humor was created by separating the kikan from the kigo.
Japanese: 季語が季節の情感を表現していたかといえば談林の俳諧などではかえって季語を季感と切り離すことで、笑いを生みだすものとしていた部分もあった。
English: Tota KANEKO, who support 'kigo,' and Teiko INAHATA, who support 'kidai,' often hold a heated debate on the BS channels of Japan Broadcasting Corporation.
Japanese: 日本放送協会のBS放送でも、「季語」という金子兜太と「季題」という稲畑汀子とがしばしば激論を交している。
English: According to the words of Basho, 'searching for even one thing that is related to the seasons is a legacy for the future generations' (Kyorai's Notes).
Japanese: 芭蕉の言葉にも「季節の一つも探り出したらんは後世によき賜と也」（去来抄）とある。
English: In haikai, since the hokku is the first verse, it requires a motive for the verses that follows, such as the wakiku (a reply to the hokku) and other parts of the poem.
Japanese: 俳諧では、最初に詠まれる発句は後に続ける脇句や平句の動機となる必要がある。
English: For example, in the famous verse by Basho, 'An old pond-- a splashing sound of a frog jumping in,' there is a cut after 'an old pond' to allow for a momentary pause.
Japanese: たとえば有名な芭蕉の句「古池や蛙飛び込む水の音」芭蕉　では、「古池や」の後で一呼吸、句の流れが切れている。
English: During this momentary pause, the reader is allowed to imagine the environment that surrounds the composer as well as his/her thoughts, emotions or pathos, and history.
Japanese: 読者はその一瞬の休符の合間に、作者を取り巻く環境や作者の思想・感情・情念・背景などを勝手に想像してしまう仕掛けになっている。
English: Even in the modern-day haiku, 'kire' is thought to be one of the most important techniques used in the composition, and verses without the 'kire' are considered to be haiku.
Japanese: 現代の俳句でも「切れ」は重要なテクニックの一つであり、「切れ」のない句は俳句としては評価されない。
English: In the era of the renga and the haikai prior to the haiku, a total of 18 types of particles and auxiliary verbs were used such as 'mogana,' 'shi,' 'zo,' 'ka,' 'yo,' 'se,' 're,' 'tsu,' 'nu,' 'he,' 'zu,' 'ikani,' 'ji,' 'ke,' and 'ran,' including the three mentioned above.
Japanese: 俳句以前の連歌・俳諧の時代には「もがな」「し」「ぞ」「か」「よ」「せ」「れ」「つ」「ぬ」「へ」「ず」「いかに」「じ」「け」「らん」など、先の3個と合わせ、計18種類の助詞、助動詞が使われていた。
English: Basho's disciple, Kyorai, mentioned the following words of Basho in his "Kyorai's Notes."
Japanese: 芭蕉の弟子・去来は『去来抄』の中で、こんな芭蕉の言葉を紹介している。
English: A kireji is used to pause a verse. However, a paused verse does not have to be paused by a kireji. The number of kireji is specified in advance for the beginners who are still unable to tell if a verse is paused or not. If these specified syllables are used, then seven or eight out of ten can be naturally paused. However, the rest of the two or three, are hopeless verses that cannot be paused even by using kireji, but there are good verses that are paused even without using kireji. In that case, all 47 syllables can be considered kireji.'
Japanese: 「切れ字を入れるのは句を切るためである。しかし切れている句というのは切れ字によって切る必要はない。いまだに句が切れている、いないが、わからない初心者のために、あらかじめ切れ字の数を定めているのである。この定め字を入れれば十のうち七八の句は自然に切れる。しかし残りの二三は切れ字を入れても切れないダメ句である、また入れなくても切れるいい句もある。そういう意味では四十七文字すべてが切れ字となりうる」
English: What Basho wanted to say was that a kire depends solely on the verse's content, and not on the presence of a kireji.
Japanese: つまり芭蕉の言いたいことは、切れは句の内容の問題で切れ字があるなしの問題ではないということである。
English: An example of a verse having a kire without a kireji is 'Being tired of a journey-- dream runs amuck in a barren field' by Basho.
Japanese: 切れ字がないのに切れている例としては、たとえば「旅に病んで夢は枯れ野をかけめぐる」芭蕉がある。
English: However, it is one of the characteristics of the haiku whose origin can be traced back to Basho's verses.
Japanese: しかし、その起源は芭蕉の句までたどることのできる俳句の特徴の1つである。
English: Basho's disciple, Toho HATTORI, described this kyakkan shasei in "Sanzoshi" (The Three Books on the opinions of haiku) as 'creating a poem just as the composer feels either through sight or sound, that is the truth of haikai.'
Japanese: 芭蕉の門人・土芳は『三冊子』の中でこれを「見るにつけ、聞くにつけ、作者の感じるままを句に作るところは、すなわち俳諧の誠である」と表現している。
English: However, the truth of haikai means to eliminate subjectivity and falsehood, observe the subject well, listen attentively, and make the best effort in describing it using seventeen syllables.
Japanese: しかし、俳諧の誠というのは私意や虚偽を排し、対象をよく観察し、傾聴して、そのありさまを十七文字で表現することに全力を傾けるという意味である。
English: However, by describing the force of the storm that blows around Mt. Asama as 'blowing away even the rocks' the readers can fully feel and imagine, along with the desolate scenery, the humor within Basho's character in selecting such an expression.
Japanese: しかし、浅間山に吹く野分の凄さを「石まで吹き飛ばす」と表現することで読者は、荒涼とした風景とともに、こういう表現を選ぶ芭蕉という人物の面白さをもかえって十分に感じることができるのである。
English: However, unlike the haiku, which is the hokku at the beginning of a haikai-renga that became independent, the senryu is a form of poetry that appreciates the tsukeku (hiraku) independently from the previous verses.
Japanese: だが俳諧連歌の冒頭の発句が独立した俳句と違い、川柳は付け句（平句）を前句から独立的に鑑賞するようになった。
English: For this reason, the senryu did not inherit the characteristics of the hokku, and explains for the dramatic difference between the senryu and the haiku.
Japanese: したがって、発句の性格を継承しておらず、そこから俳句と対照的な特徴を有する。
English: There are six things to consider and eight things to avoid when composing a haiku, according to Shuoshi MIZUHARA in "Making Haiku."
Japanese: 水原秋桜子が『俳句の作り方』で提唱した、俳句を作る時に意を注ぐべき六ヶ条と避けるべき八ヶ条。
English: Since it is well organized, beginners to haiku can refer to them when composing haiku poems.
Japanese: よくまとめられているので、初心者が俳句を作るときに参考にすることができる。
English: It is common to use taigendome (placing a noun at the end of a poem) to allow the omission of the following verbs or particles, and to use particles at the end of the verse to allow the omission of the following verb.
Japanese: 体言止めにより動詞や助詞を省略したり、助詞で止めて後に来る動詞を省略したりすることが多い。
English: This enables the creation of an allusive feeling or the expression of temporal 'space.'
Japanese: また、測可能な言葉を省くことにより、余韻を残したり時間的な「間」を表現することにもなる。
English: The eight things that should be avoided upon composing haiku poems (according to Shuoshi MIZUHARA's opinion, although there may be disagreements, particularly regarding muki verses).
Japanese: 俳句を詠むときで避けるべき八ヶ条（水原秋桜子の見解、特に無季の句に関しては異論もあろう）
English: This is a technique in which words are taken from famous, existing haiku and tanka poems, and using them to implicitly bring forth the imagery of the original verse.
Japanese: 有名な既存の俳句や短歌などから言葉を流用し、言外に本歌の内容を表現する技法。
English: For example, the phrase 'mist at the foot of the mountain' from the poem 'Perusing the landscape, there is mist at the foot of the mountain and Minase-gawa River' is used to imply 'Minase-gawa River' without the explicit mentioning of it.
Japanese: 例えば「見わたせば山もと霞む水無瀬川」から「山もと霞む」を流用し、言外に「水無瀬川」を示すなど。
English: This is a technique in which a variation is added to the rhythm by placing a semantic cut in a location different from what is commonly used for the 5-7-5 structure.
Japanese: 意味的な切れ目を五・七・五の音の切れ目とは異なる場所に持ってくることで、リズムに変化を与える技法。
English: Daini no Sanmi (ca. 999-ca. 1082) was a female poet who lived during the mid-Heian period.
Japanese: 大弐三位（だいにのさんみ、長保元年（999年）頃?-永保2年（1082年）頃?）は、平安時代中期の女流歌人。
English: She was also called To no Sanmi, Echigo no Ben, or Ben no Menoto (nurse of Imperial Princess Teishi).
Japanese: 藤三位（とうのさんみ）、越後弁（えちごのべん）、弁乳母（べんのめのと）とも呼ばれる。
English: In 1017, age about eighteen, she succeeded her mother and served FUJIWARA no Shoshi (Jotomonin), the second consort of the Emperor Ichijo.
Japanese: 長和6年（1017年）18歳ごろ、母の後を継ぎ一条天皇の女院藤原彰子（上東門院）に女房として出仕。
English: During this period, it is known that she had relationships with FUJIWARA no Yorimune, FUJIWARA no Sadayori, MINAMOTO no Asato, and so on.
Japanese: この間、藤原頼宗、藤原定頼、源朝任らと交際があったことが知られている。
English: In 1025, when Imperial Prince Chikahito (Emperor Goreizei) was born, she was appointed as his nursemaid.
Japanese: 万寿2年（1025年）、親仁親王（後冷泉天皇）の誕生に伴い、その乳母に任ぜられた。
English: By 1037, she was married again to Togu Gonnotaijo TAKASHINA no Nariakira, and in 1038 she gave birth to TAKASHINA no Tameie.
Japanese: 長暦元年（1037年）までの間に東宮権大進高階成章と再婚、同2年（1038年）高階為家を生む。
English: In 1054, when Emperor Goreizei ascended the throne, she was promoted to Jusanmi (Junior Third Rank), and her husband, Nariakira, also took office as Dazai no daini (Senior Assistant Governor-General of the Dazai-fu offices).
Japanese: 天喜2年（1054年）後冷泉天皇の即位とともに従三位（じゅさんみ）に昇叙、夫成章も大宰大弐に就任した。
English: Around this period, she composed poems at various utaawase (poetry contest) such as 'Jotomonin Kikuawase' (1028), 'Dairi Utaawase' (the palace poetry contest) (1049), and 'Imperial Princess Yushi's Utaawase' (1050).
Japanese: この間、長元元年（1028年）「上東門院菊合」、永承4年（1049年）「内裏歌合」、同5年（1050年）「祐子内親王家歌合」など多くの歌合で歌を詠んでいる。
English: In 1078, she joined 'Dairi Goban Utaawase' on behalf of her son, Tameie, in spite of her great age, about eighty.
Japanese: 承暦2年（1078年）には80歳近い高齢で「内裏後番歌合」に出席し、子為家の代詠をつとめている。
English: In addition, her poem, 'Near Mt. Arima, the wind blows rustling Ina's bamboo grasses. It is you who forgot me, though I still love you.' was selected for 'Ogura Hyakunin Isshu' (Ogura Anthology of One Hundred Tanka-poems by One Hundred Poets).
Japanese: また、「小倉百人一首」に「有馬山猪名の笹原風吹けばいでそよ人を忘れやはする」が採用されている。
English: She is sometimes mentioned as the author of Uji jujo (The Ten Quires of Uji) of "The Tale of Genji" and "Sagoromo Monogatari" (The Tale of Sagoromo), though it is not certain whether or not this is true.
Japanese: 『源氏物語』宇治十帖や『狭衣物語』の作者と掲げられることがあるが、真偽は定かではない。
English: Kyoka is a parody of tanka (Japanese poem) that contains social satire, irony, and humor in 31 (5-7-5-7-7) syllables.
Japanese: 狂歌（きょうか）とは、社会風刺や皮肉、滑稽を盛り込み、五・七・五・七・七の音で構成した短歌（和歌）のパロディ形式。
English: While rakusho (lampoon) can be in the same category, Kyoka was established as a unique genre during the mid Edo period, and among famous Kyoka poets was Teiryu TAIYA, who was active in Kamigata (Kyoto and Osaka area) during the Kyoho era.
Japanese: 落書（らくしょ）などもその系譜に含めて考えることができるが、独自のジャンルとして発達したのは江戸時代中期で、享保頃に上方で活躍した鯛屋貞柳などが知られる。
English: It is said that the fad started when a collection of Kyoka entitled "Neboke sensei bunshu (the Literary Works of Master Groggy)" was published in 1767 at the beginning of Okitsugu TANUMA's political control.
Japanese: 田沼時代の始まる1767年（明和4年）に狂詩集『寝惚先生文集』が刊行されたのがブームのきっかけとされる。
English: With a preface written by Gennai HIRAGA, this book was written by 19 year old Nanbo OTA (a.k.a. YOMO no Akara and Shokusanjin).
Japanese: 序文を平賀源内が寄せ、筆者は当時19歳の大田南畝（四方赤良、蜀山人）であった。
English: The Edo culture was at its peak during the TANUMA administration, when Kyoka, Ukiyoe (Japanese woodblock prints) and kibyoshi (an illustrated book of popular fiction whose cover is yellow) flourished.
Japanese: 田沼時代は狂歌ブームのほか浮世絵、黄表紙などの隆盛が見られ、江戸文化の一つのピークをなしている。
English: After the modern period, Kyoka has been very dull in contrast to Senryu (comic haiku), which still enjoys wide popularity today.
Japanese: 近代以降、狂歌は全くふるわず、現在でも愛好者の多い川柳と対照的である。
English: The original poem was that of Emperor Koko in Hyakunin Isshu (one hundred waka poems by one hundred poets): "To give you; Go out to the field in Spring; and gather young herbs; the snow is falling on my sleeves."
Japanese: 百人一首の光孝天皇の歌（君がため春の野に出でて若菜つむわが衣手に雪は降りつつ）が元歌。
English: This poem was written during the Kyoho reforms, satirizing the delay of salary to Hatamoto samurai.
Japanese: 享保の改革の際に詠まれたもので、旗本への給与が遅れたことを風刺している。
English: The original poem was that of MINAMOTO no Muneyuki in Kokin Wakashu "Villages in the Mountain are; now at the peak of emptiness; when people and leaves are withered."
Japanese: 「古今和歌集」源宗于の歌（山里は冬ぞ寂しさまさりける　人目も草も枯れぬと思へば）が元歌。
English: It satirizes people who thought that old days of corrupt politics of Okitsugu TANUMA were better than the harsh reforms of Sadanobu.
Japanese: 定信の厳しい改革より、その前の田沼意次の多少裏のあった政治の方が良かったことを風刺している。
English: "Jokisen" was a product name of high-quality green tea, and as cups of strong green tea excite drinkers, this poem satirized those who were frightened and worried by just four jokisen (steam boats) from foreign countries.
Japanese: 上喜撰とは玉露茶の商品名で、濃茶を飲むと興奮するように、たった四隻の外国船（蒸気船）に驚き、心配になることを風刺した。
English: There were two types of Kyoka ren (groups): groups made up mainly of samurai, such as Yamanote-ren led by Nanbo OTA and Yotsuya-ren with Kisshu KARAGOROMO; those made up mainly of citizens, including Sakaimachi-ren formed by the Fifth Danjuro Ichikawa and his followers, and Yoshiwara-ren led by Juzaburo TSUTAYA and based in Yoshiwara.
Japanese: 大田南畝の率いる山の手連、唐衣橘洲らの四谷連など武士中心の連のほか、町人を中心としたものも多く、市川團十郎(5代目)とその取り巻きが作った堺町連や、蔦屋重三郎ら吉原を中心にした吉原連などもあった。
English: The "Gikeiki" is a war chronicle focused mainly on MINAMOTO no Yoshitsune and his retainers, and is believed to have been created either during the Nanbokucho period (Japan's period of Northern and Southern Courts) or at the beginning of the Muromachi period.
Japanese: 『義経記』（ぎけいき）は、源義経とその主従を中心に書いた軍記物語で、南北朝時代(日本)から室町時代初期に成立したと考えられている。
English: It has wielded considerable influence on many later literary works of Noh, Kabuki, and Ningyo Joruri among other genres, and many of the depictions of Yoshitsune and those connected to him that exist today are based on the "Gikeiki."
Japanese: 能や歌舞伎、人形浄瑠璃など、後世の多くの文学作品に影響を与え、今日の義経やその周辺の人物のイメージの多くは『義経記』に準拠している。
English: The figures in it, including Yoshitsune, his retainers, and other characters, often reveal their emotions, and are described in a very vivid manner.
Japanese: 義経及びその主従などの登場人物たちがよく感情を表し、生き生きと書かれている。
English: However, since it was written more than 200 years after all its main characters' deaths, it is impossible to believe that the creator of the "Gikeiki" actually had any sort of knowledge, either direct or indirect, of these historical figures' personalities.
Japanese: しかしながら彼らの死後二百年以上経ってからの成立であるため、『義経記』の作者は当事者たちの人柄を、直接的にも間接的にも知っていたとは考えられない。
English: Nor is the author thought to have used Gunchuki, which can be and were often used as the basis for war chronicles.
Japanese: また、軍記物語の下地となりうる軍注記を利用したとも考えられていない。
English: Moreover, a great many contradictions surface during the action of the story, and hence it is believed to have been based on both then-contemporary legends and on fabrications by the author.
Japanese: その上、作中の行動のあちこちに矛盾が生じており、当時の伝説と作者の創作によって成立したと考えられている。
English: As a result, its value as a "historical record" is considered low, and today it is treated as nothing more than a "story."
Japanese: よって「史料」としての価値は低く、今日ではあくまで「物語」として扱われている。
English: Although classified as a war chronicle, the Gikeiki, unlike the "Heike monogatari," is not actually focused on the period of Yoshitsune's magnificent battles, but rather on his childhood, his early successes, and his ruin.
Japanese: 分類は軍記物語ではあるが、『平家物語』のように華々しい合戦の時期に重点が置かれているのではなく、義経の幼少期・出世・没落の時期に重点が置かれている。
English: In other words, the Gikeiki is centered on MINAMOTO no Yoshitsune's personality, not on the actual battles or on a description of the large-scale pattern of human involvement in them.
Japanese: 言い換えれば、実在の合戦を話の軸として周りの人間模様を描いているというより、源義経という人物が話の軸となっている。
English: Overall, it differs greatly from other early medieval war chronicles; one might call it less a war chronicle and more a fictional romance.
Japanese: 全体的に中世前期の他の軍記物語とは大きく趣が異なり、軍記物語というより伝奇物語とも言える。
English: "Aoi no Ue" is a work of nogaku (the art of Noh) which is based on the chapter of 'Aoi' (Hollyhock) in "The Tale of Genji."
Japanese: 『葵上』（あおいのうえ）は、『源氏物語』の「葵(源氏物語)」巻に取材した能楽作品。
English: Shite (main actor; protagonist) is a wraith of Rokujo no Miyasudokoro, while Aoi no Ue, whose name is also used as a title of this play, does not appear at all.
Japanese: シテは六条御息所の生霊であり、題にもなっている葵の上は一切登場せず、
English: The character of Aoi no Ue, who is haunted by the wraith and sick in bed, is expressed by laying a kosode (a kimono with short sleeves worn as underclothing by the upper classes) on the stage (which is called dashikosode).
Japanese: 生霊に祟られ寝込んでいることを一枚の小袖を舞台に寝かすこと（出し小袖）で表現している。
English: Rokujo no Miyasudokoro, who could not bear the insult given by Aoi no Ue at the festival of Kamo, became a wraith (maejite (shite that appears on the scene before nakairi)), and is torturing Aoi no Ue.
Japanese: 六条御息所は賀茂の祭の際葵上から受けた侮辱に耐え切れず、生霊（前ジテ）となって葵上を苦しめているのである。
English: All remedies having proved ineffective, an ascetic Buddhist monk was called at last, and when prayers began, the wraith got angry and appeared in the form of an ogre (known as Nochijite, or the Shite that appears on the scene after nakairi)).
Japanese: 薬石効なく、ついに修験者が呼ばれ祈祷が始まると、生霊は怒り、鬼の姿（後ジテ）で現われる。
English: Koshikibu no Naishi (ca. 999-November, 1025) was a female poet who lived during the Heian period.
Japanese: 小式部内侍（こしきぶのないし、長保元年（999年）頃-万寿2年（1025年）11月）は平安時代の女流歌人。
English: Therefore she came to be called 'Koshikibu' (literally little Shikibu) in order to be distinguished from her mother Shikibu.
Japanese: そのため、母式部と区別するために「小式部」という女房名で呼ばれるようになった。
English: Just like her mother, she was known as a female poet who fell in love with many noble men such as FUJIWARA no Norimichi, FUJIWARA no Sadayori, and FUJIWARA no Norinaga.
Japanese: 母同様恋多き女流歌人として、藤原教通・藤原定頼・藤原範永など多くの高貴な男性との交際で知られる。
English: In 1025, when she gave birth to the child of FUJIWARA no Kinnari (Yorishinobu Ajari, a master in esoteric Buddhism), she passed away in her twenties, and people around her mourned for her.
Japanese: 万寿2年、藤原公成の子（頼忍阿闍梨）を出産した際に20代で死去し、周囲を嘆かせた。
English: Anecdotes concerning Koshikibu no Naishi were collected in many collections of anecdotes such as; "Jikkinsho" (A Miscellany of Ten Maxims) and "Kokon Chomon ju" (A collection of Tales Heard, Past and Present).
Japanese: 小式部内侍の逸話は、『十訓抄』や『古今著聞集』など、多くの説話集に採られている。
English: Most of the anecdotes are related to the love between her and Norimichi, or the following poem of 'Mt. Oe.'
Japanese: 中心になっているのは、下記の「大江山」の歌のエピソード、また教通との恋のエピソードである。
English: "Mumyozoshi" (critique of tales) also contains descriptions about her, and she was praised as an ideal woman in the book.
Japanese: また『無名草子』にも彼女に関する記述があり、理想的な女性として賞賛されている。
English: This poem was also collected in "Kinyo Wakashu" (Kinyo Collection of Japanese Poems), but the word order of this poem ('fumi mo mada mizu') is different from the one collected in Hyakunin Isshu (one hundred waka poems by one hundred poets).
Japanese: この歌は『金葉和歌集』にも収録されているが、そちらは「ふみもまだ見ず」となっており、百人一首とは語順が異なる。
English: This poem means that 'it takes many days to cross Mt. Oe and go to Ikuno (a place-name in Tango), so I have never been to Amano Hashidate, where my mother lives, and I have not received a letter from her yet, either.'
Japanese: これは、「大江山を越えて生野（丹後の地名）へと向かう道のりは遠いので、まだ母のいる天の橋立の地を踏んだこともありませんし、母からの手紙もまだ見ていません」という意味である。