nntsuzu/KFTT huggingface dataset:
English: At the time of the first performance, Matsusuke ONOE IV was well received, but from the Showa era onward, Taganojo ONOE III was the best, and until around the age of eighty, he kept his charm and Edo style smartness..
Japanese: 初演時は尾上松助(4代目)が好評だったが、昭和以降は尾上多賀之丞(3代目)が絶品で、彼は80歳近くまで色気と江戸前の粋さを失わなかった。
English: Seizoroi' is a lavish act of all star performance showing only the scene of fashionablefirefighters identifying themselves while songs such as A log-carriers' [lumber-carriers'] chant [song] and Kanda Matsuri Festival songs are being played.
Japanese: 「勢揃い」は木遣歌や神田祭礼の唄が流れる中、粋な鳶の者の名乗りだけを見せる顔見世形式の華麗な一幕である。
English: The only thing that Mokuami created was the lines of five men, Matsuzo, Minosuke, Onokichi, Goroji, Kanegoro, and Ishimatsu, and the others were added in the later generations.
Japanese: 黙阿弥の手によるものは松蔵・巳之助・尾之吉・五郎次・兼五郎・石松の5人の科白のみで、他は後世の加筆である。
English: In Edo, where there were many fires, other than 'Jomachi hikeshi' who were under immediate supervision of magistrate's office, there were 'daimyo hikeshi' who were employed by each daimyo in order to protect their residences and Bukemachi (samurai residence district) from fire.
Japanese: 火事の多い江戸には、奉行所に直属する「常町火消し」のほかに、各大名がそれぞれの屋敷や武家町を火災から守るためにそれぞれ抱えた「大名火消し」がいた。
English: Among them, Kagatobi were popular owing to their flashy outfit and unique hair style, and having their pride in family status of "Kaga hyaku-man-goku"(one million koku of rice produced annually) and "quasi-Tokugawa gosanke", and they had endless clashes with Machi hikeshi every time there was a fire in areas where traditional town houses and daimyo yashiki (mansion of a feudal lord) stood close by.
Japanese: 中でも加賀鳶は派手な衣装と独自の髪型で人気が高く、加賀百万石・準御三家といった家格の誇りもあって、町家と大名屋敷が隣接する地域では火事の度に威勢のいい町火消しとの衝突が絶えなかった。
English: The arrest in 'Akamon mae scene' is counted as one of the masterpieces of veiled enmity along with 'Onbobori scene' of "Tokaido Yotsuya Kaidan" (Tokaido Yotsuya Ghost Stories) and 'Yatsuyamashita scene' of "Kamino Megumi Wago no Torikumi" (Megumi no kenka (the fight of Megumi)).
Japanese: 「赤門前の場」の捕物は『東海道四谷怪談』の「隠亡堀の場」や『神明恵和合取組』（め組の喧嘩）の「八ツ山下の場」とならぶ、暗闘の傑作のひとつに数えられている。
English: The scene where comicalness is mixed with suspense, such as Dogen who had been tracked down, mimicking the voices of torite or grabbing torite's vital points in the dark is popular.
Japanese: 追い詰められた道玄が、暗闇の中で捕り手の声を真似たり、相手の急所をつかんだりと、はらはらする場面のなかにも可笑しいさを混ぜていることから人気が高い。
English: Kikugoro VI is said to have taught his disciples who played torite by telling them 'I ain't movin', you guys are the ones that gotta move around.'
Japanese: 六代目菊五郎は捕り手の弟子たちに「俺らぁ動かねえよ、動くのはてめぇたちだよ」と教えていたという。
English: Yama-arashi is a Japanese Yokai (specter) introduced in books such as a Yokai picture book, "Hyakki Yagyo Emaki" (picture scroll of a hundred specters strolling at night) by Yoshi ODA.
Japanese: 山あらし、山荒（やまあらし）は、尾田淑による妖怪画『百鬼夜行絵巻』などにある日本の妖怪。
English: In "Hyakki Yagyo Emaki (picture scroll of a hundred specters strolling at night)", Yama-arashi is illustrated as a beast whose entire skin is covered with spines.
Japanese: 『百鬼夜行絵巻』では、棘状の突起に全身を覆われた獣の姿として描かれている。
English: Because no detailed description is attached to it, no one can be sure what kind of Yokai (specter) the Yama-arashi represents, but some say that the Yama-arashi is not Yokai but merely an illustrated figure of the real animal, porcupine (yama-arashi in Japanese), or that fragmented information that a porcupine uses its spines to threaten other animals created the fictitious Yokai, Yama-arashi.
Japanese: 一切の解説文がないため、どのような妖怪を意図して描かれたものかは想像の域を出ないが、妖怪ではなく実在の動物であるヤマアラシを描いたもの、またはヤマアラシが全身の棘によって相手を威嚇するという断片的な情報が妖怪視されたもの、などの説がある。
English: Although the connection with the painted Yama-arashi has not been verified, there is folklore on Yokai (specter) Yama-arashi in various places across Japan,
Japanese: この画との関連性は不明だが、ヤマアラシという名の妖怪は日本各地の民間伝承に見られる。
English: In Arita County of Wakayama Prefecture (present-day Hirokawa Town, Wakayama Prefecture) and Yamagata County of Hiroshima Prefecture, Yama-arashi is also called 'Shii'; cow keepers often say 'Shii, Shii', meaning 'Yama-arashi is behind you', to move cows forward as cows are very scared of porcupines full of spines.
Japanese: 和歌山県有田郡廣村（現・広川町(和歌山県)）や広島県山県郡(広島県)では、ヤマアラシは別名を「シイ」といい、毛を逆立てる姿をウシがたいへん恐れるので、牛を飼う者は牛に前進させる際に「後ろにシイがいるぞ」という意味で「シイシイ」と命令するのだという。
English: In Daito Village, Yoshino County of Nara Prefecture, Yama-arashi is said to be a monster which makes noise of cutting trees in mountains.
Japanese: また奈良県吉野郡大塔村(奈良県)では、山で木を伐る音をたてる怪物といわれる。
English: In the literature from the Edo period, such as "Yamato-honzo", "Wakan Sansai Zue" and "Saikai Zokudan", Shii is written '黒眚' in Kanji, which means ''black disaster.''
Japanese: 江戸時代の書物『大和本草』『和漢三才図会』『斎諧俗談』などではシイに「黒眚」という漢字表記をあてている。
English: According to "Yamato Honzo," ''Shii'' is said to have lived in Suo Province (present-day Yamaguchi Prefecture) and Tsukushi Province (present-day Fukuoka Prefecture), and to have harmed cattle and horses and it was not easy to catch as it was very smart and could move very fast.
Japanese: 『大和本草』では黒眚は周防国（現・山口県）や筑紫国（現・福岡県）におり、やはり牛馬に害をなすもので、賢い上に素早いのでなかなか捕えることはできないとある。
English: According to "Saikai Zokudan," it is said to have lived in Yoshino County of Nara Prefecture and could hurt face, arms and legs and even throat of humans just by touching the monster.
Japanese: 『斎諧俗談』では奈良県吉野郡にいるものとされ、人間はこれに触れただけで顔、手足、喉まで傷つけられるとある。
English: Some people say that ''Shii'' was a Chinese monster in origin as often mentioned in Chinese folklore, and in Japan, ''Shii'' in the literature of the Edo period is merely an alias for unidentified monsters.
Japanese: この黒眚とは本来は中国の伝承にある怪物の名であり、江戸期の書物にある黒眚は、日本の正体不明の怪物にこの中国の黒眚の名を当てはめたに過ぎないとの説もある。
English: "Meiboku Sendai Hagi" (The Disputed Succession of the Date Family) is a play for Ningyo Joruri (traditional Japanese puppet theater) and Kabuki, based on Date Sodo (the Date family disturbance).
Japanese: 『伽蘿先代萩』（めいぼくせんだいはぎ）は、伊達騒動を題材とした人形浄瑠璃および歌舞伎の演目。
English: Date Sodo, the theme of this play, is a dispute that arose among the Date family from 1660 to 1671, during the Manji and Kanbun eras.
Japanese: 本作の題材となった伊達騒動は、万治・寛文年間、1660年から1671年にかけて仙台伊達家に起こった紛争をいう。
English: Tsunamune DATE, the third head of the Date family in Sendai, became crazy for Takao-dayu (a courtesan) in Yoshiwara and indulged himself in pleasure at the red-light district so that he was forced to retire.
Japanese: 仙台伊達家の第三代当主・伊達綱宗は吉原の高尾太夫に魂を奪われ、廓での遊蕩にふけり、隠居させられる。
English: It was a trap by planned by the group of Munesuke HARADA, chief retainer plotting to usurp the headship, and Munekatsu DATE who was behind the scenes.
Japanese: これらはお家乗っ取りをたくらむ家老原田宗輔と黒幕である伊達宗勝ら一味の仕掛けによるものだった。
English: The group of Kai (common name of Munekatsu HARADA) attempted to poison Tsunamura DATE who had succeeded Tsunamune's position, but loyal retainers prevented it.
Japanese: 甲斐一味は綱宗の後を継いだ伊達綱村の毒殺を図るが、忠臣たちによって防がれる。
English: At the inquiry held at the mansion of Tadakiyo SAKAI, Uta no Kami (Director of the Bureau of Music; here it means Tadakiyo SAKAI) who was associated with Hyobu, supported Hyobu and Kai, but incorruptible Shigenori ITAKURA judged in favor of Aki (common name of Muneshige DATE).
Japanese: 酒井忠清邸での審理で、兵部と通じる雅楽頭は兵部・甲斐側に加担するが、清廉な板倉重矩の裁断により安芸側が勝利。
English: The first Kabuki play based on Date Sodo was 'Taihei Onna Imagawa' first performed in the new year of 1713 at Ichimura-za Theater in Edo.
Japanese: 伊達騒動を扱った最初の歌舞伎狂言は、正徳(日本)3年（1713年）正月江戸市村座で上演された「泰平女今川」である。
English: There were three particularly important plays among them: a Kabuki play 'Meiboku Sendai Hagi' (written by Kamesuke NAGAWA and others) performed during April 1777 at Naka no Shibai (the Naka-za Theater) in Osaka, Kabuki play 'Date Kurabe Okuni Kabuki' (Competition of the Date Clan in Okuni Kabuki) (written by a collaboration of Jisuke SAKURADA and Sensuke KASANUI) performed during July 1778 at the Nakamura-za Theater in Edo, and Ningyo Joruri play 'Meiboku Sendai Hagi' (written by Kanshi MATSU and others) performed during 1785 at the Yuki-za Theater in Edo.
Japanese: 特に重要な作品として、安永6年（1777年）4月大坂中の芝居で上演された歌舞伎「伽羅先代萩」（奈河亀輔ほか作）と、翌安永7年（1778年）7月江戸中村座で上演された歌舞伎「伊達競阿国戯場」（桜田治助・笠縫専助合作）、さらに天明5年（1785年）江戸結城座で上演された人形浄瑠璃「伽羅先代萩」（松貫四ほか作）の3作が挙げられる。
English: The Kabuki play 'Meiboku Sendai Hagi' told the story of Date Sodo, but was set in the Kamakura period with a loyal wet nurse called Masaoka and her son Senmatsu as its characters.
Japanese: 歌舞伎「伽羅先代萩」は、伊達騒動を鎌倉時代に託して描き、忠義の乳母政岡とその子千松を登場させた。
English: The play 'Date Kurabe Okuni Kabuki' was set in the world of Onin-ki (The Records of the Onin War), where the Hosokawa clan and Yamana clan fought each other, and also adopted the story of Kasane and Yoemon, dramatizing the legend of Kasane.
Japanese: 「伊達競阿国戯場」は、騒動の舞台を細川氏・山名氏が争う応仁記の世界にとり、累伝説を脚色した累・与右衛門の物語と併せて劇化した。
English: Among the scenes of 'Meiboku Sendai Hagi' performed today, 'Bamboo Room,' 'Mansion' and 'Under the Floor' are based on the former, and other scenes are based on the respective scenes of the latter.
Japanese: 現在「伽羅先代萩」の外題で上演される内容は、「竹の間」「御殿」「床下」は前者、その他は後者の各場面を原型としている。
English: The Ningyo Joruri play 'Meiboku Sendai Hagi' performed in 1785 was a Ningyo Joruri adaptation of the Kabuki play 'Meiboku Sendai Hagi', and the passages of Joruri (dramatic narrative chanted to a shamisen accompaniment) chanted today for the scene 'Palace' are derived from this play.
Japanese: 天明5年（1785年）の人形浄瑠璃「伽羅先代萩」は歌舞伎「伽羅先代萩」を改作・浄瑠璃化したもので、現行「御殿」に用いる浄瑠璃の詞章はこの作品から取られている。
English: As for the structure of the scenes, lines and interpretation, there are various other versions, and current structure that consists of the scenes 'Hanamizu-bashi Bridge,' 'Bamboo Room,' 'Mansion,' 'Under the Floor,' 'Confrontation' and 'Attack' has been gradually established since the mid-Meiji period.
Japanese: 場面構成や台詞・演出についてはこの他多くのヴァリエーションがあり、「花水橋」「竹の間」「御殿」「床下」「対決」「刃傷」からなる現行の構成は明治半ばから徐々に定着したものである。
English: The story of Kasane and Yoemon became a separate Kabuki play titled 'Meiboku Kasane Monogatari' (The Story of Kasane) after the Meiji period, and has been performed in Kabuki and Ningyo Joruri.
Japanese: また明治以降、累・与右衛門の物語は「薫樹累物語（めいぼくかさねものがたり）」などの外題で、独立の狂言として歌舞伎・人形浄瑠璃で上演されるようになった。
English: The current play can be roughly divided into three parts: 'Hanamizu-bashi Bridge,' 'Bamboo Room, Mansion and Under the Floor' and 'Confrontation and Attack.'
Japanese: 現行脚本は大きく「花水橋」「竹の間・御殿・床下」「対決・刃傷」の3パートに分けることができる。
English: The script of each part is derived from a different play so that the play as a whole lacks a sense of unity, but at the same time it offers a variety of attractions, which is the appeal of this play.
Japanese: それぞれが別系統の脚本によっており、全体をとおしての一体感は薄いが、一つの演目で多様な舞台を楽しめるところは本作の魅力でもある。
English: Yorikane ASHIKAGA (corresponds to Tsunamune DATE), secretly on the way back to his mansion from a red-light district, is attacked by Kanzo KUROSAWA and others who conspire with Danjo NIKKI (corresponds to Kai HARADA), but a Sumo wrestler employed by his clan, Tanizo KINUGAWA, rushes into the scene and saves him.
Japanese: 廓からお忍びで屋敷に帰る途中の足利頼兼（伊達綱宗に相当）が、仁木弾正（原田甲斐に相当）に加担する黒沢官蔵らに襲われるが、駆けつけた抱え力士の絹川谷蔵に助けられる。
English: The scene is spectacular, with Yorikane behaving elegantly as wealthy load even in the danger, humorous movements of assassins who are confused by the dignified attitude of Yorikane, and Sumo wrestler Kinugawa moving beautifully in the fight.
Japanese: 危機の中でもお大尽の殿様らしく優雅にふるまう頼兼、その威にたじろぐ刺客たちのユーモラスな動き、力士絹川の颯爽とした立ち回りを見せる華やかな一幕。
English: Sojuro SAWAMURA (the seventh) played Yorikane excellently, in an easygoing and classic style.
Japanese: 澤村宗十郎(7代目)の頼兼は鷹揚で古風な芸を満喫させる至芸であった。
English: Kinugawa kills Takao-dayu to stop Yorikane's debauchery in the script derived from 'Date Kurabe Okuni Kabuki,' while 'Meiboku Kasane Monogatari' tells about his connection with Kasane who is a younger sister of Takao.
Japanese: 絹川は、「伊達競阿国戯場」系の脚本では、頼兼の放蕩を断つため高尾太夫を殺しており、「薫樹累物語」では高尾の妹・累との因縁が描かれる。
English: There is also a script about the murder of Takao by Yorikane, which is performed on rare occasions (for example, during November 1998 at National Theater of Japan).
Japanese: 頼兼による高尾殺しを描いた脚本もあり、まれに上演される（平成10年〈1998年〉11月国立劇場など）。
English: Masaoka is the wet nurse of Tsuruchiyo who has succeeded to Yorikane's position (corresponds to Kamechiyo, the heir of Tsunamune).
Japanese: 頼兼の跡を継いだ鶴千代（綱宗嫡子の亀千代に相当）の乳母（めのと）・政岡。
English: In order to protect her young lord from rebellious retainers, she keeps men away from him, telling them that he suffers from men's illness, and she herself prepares his meals and guards him with her son of similar age, Senmatsu.
Japanese: 幼君を家中の逆臣方から守るため、男体を忌む病気と称して男を近づけさせず、食事を自分で作り、鶴千代と同年代である子の千松とともに身辺を守っている。
English: Yashio, younger sister of Danjo NIKKI, Okinoi and Matsushima, wives of his retainers, come to the mansion to visit him.
Japanese: その御殿に、仁木弾正の妹・八汐、家臣の奥方である沖の井、松島が見舞いに訪れる。
English: Yashio, who plots to assassinate Tsuruchiyo, conspires with female doctor Komaki and ninja Katota to accuse Masaoka falsely of plotting the assassination of Tsuruchiyo, but fails due to the defense by Okinoi and denial by Tsuruchiyo.
Japanese: 鶴千代殺害をもくろむ八汐は、女医者・小槙や忍びの嘉藤太とはからって政岡に鶴千代暗殺計画の濡れ衣を着せようとするが、沖の井の抗弁や鶴千代の拒否によって退けられる。
English: Although this scene and 'Mansion' originally constituted one single scene, this scene is performed purely in Kabuki acting without Joruri.
Japanese: もともと「御殿」とひとつづきの場であったが、浄瑠璃は用いず、純歌舞伎で演じられる。
English: Tsuruchiyo and Senmatsu are hungry because they have not eaten due to a series of problems, and Masaoka starts preparing rice with tea utensils.
Japanese: 一連の騒動で食事ができなかった鶴千代と千松は腹をすかせ、政岡は茶道具を使って飯焚きを始める。
English: As they have a talk, the rice is ready to eat, but when they are having a meal, Sakae Gozen, wife of Sozen YAMANA (corresponds to Sakai Uta no Kami) who is Kanrei (shogunal deputy) and supports the rebellious retainers, comes along with sweets and offers them to Tsuruchiyo.
Japanese: 主従3人のやりとりのうちに飯は炊けるが、食事のさなかに逆臣方に加担する管領・山名宗全（酒井雅楽頭に相当）の奥方・栄御前が現われ、持参の菓子を鶴千代の前に差し出す。
English: Although Masaoka is worried that they may be poisoned, she cannot intervene, out of regard for the Kanrei family, and then Senmatsu rushes into the scene, grabs and eats the sweets, and suffers from the poison.
Japanese: 毒入りを危惧した政岡だったが、管領家の手前制止しきれず苦慮していたところ、駆け込んで来た千松が菓子を手づかみで食べ、毒にあたって苦しむ。
English: Yashio, being afraid that her poisoning attempt may be disclosed, stabs at Senmatsu's throat with a knife and kills him, but Masaoka protects Tsuruchiyo without changing her face.
Japanese: 毒害の発覚を恐れた八汐は千松ののどに懐剣を突き立てなぶり殺しにするが、政岡は表情を変えずに鶴千代を守護する。
English: Sakae Gozen, having seen her attitude, believes that Tsuruchiyo and Senmatsu have been swapped, and consigns to Masaoka a scroll, which is the covenant of conspiracy among the group of Danjo.
Japanese: その様子を見た栄御前は鶴千代・千松が取り替え子であると思い込んで政岡に弾正一味の連判の巻物を預ける。
English: Having seen Sakae Gozen leave, Masaoka returns to herself as mother and holds the dead body of Senmatsu, praising him for having performed the role of poison tester as she has taught him and mourns his tragic fate resulting from being the son of a samurai.
Japanese: 栄御前を見送った後、母親に返った政岡は、常々教えていた毒見の役を果たした千松を褒めつつ、武士の子ゆえの不憫を嘆いてその遺骸を抱きしめる。
English: Then she is attacked by Yashio, whom she kills in return to avenge the death of Senmatsu, but the scroll is taken away by a mouse.
Japanese: その後、襲いかかってきた八汐を討ち千松のかたきを取るが、巻物は鼠がくわえて去る。
English: This scene is the biggest climax of the whole play, and 'Meiboku Sendai Hagi' often means this scene.
Japanese: 本作中最大の山場であり、「伽羅先代萩」といえばこの場について語られることが多い。
English: Although it is a popular story in Kabuki and Ningyo Joruri that one protects his or her lord at the sacrifice of his or her own child, some audiences feel strange about it.
Japanese: 子を犠牲にして主君を守る筋書きは歌舞伎・人形浄瑠璃の常套ではあるが、違和感を覚える観客もいる。
English: Masaoka is considered to be one of the most difficult female roles, and has been played by great past and current actors of female roles.
Japanese: 政岡は女形最高の難役の一つとされており、歴代の名女形に演じられてきた。
English: This role has both the strength of suppressing the love between parent and child and the weakness of mother caring for her child so that depends on each actor and interpretation, the image of Masaoka varies.
Japanese: 役柄自体は、肉親の情を抑えきる強さと子を思う母の弱さの両方を備えており、演者・演出によって様々な政岡像が描かれている。
English: As for the scene in which Sakae Gozen believes that the children have been swapped, the original script of Ningyo Joruri 'Meiboku Sendai Hagi' says that it is because Komaki, who in fact supports the loyal retainers, has lied about it to Sakae Gozen, and on some occasions Komaki appears and discloses it before the curtain fall of 'Mansion' (for example, the performance in November 2004 at Shochiku-za Theater).
Japanese: 栄御前が取り替え子を信じるくだりについて、浄瑠璃「伽羅先代萩」原文には、本当は忠臣方に連なる小槙が栄御前に予め嘘を吹き込んでいた、という設定があり、「御殿」の幕切れに小槙が登場しそのことを告げる演出もある（平成16年〈2004年〉11月松竹座など）。
English: As for the scene of 'Preparation of Rice' in which Masaoka talks with two children until Sakae Gozen appears, the actor playing Masaoka demonstrates tea ceremony, but there is not much story in it and the scene is often shortened.
Japanese: 栄御前の登場まで政岡が2人の子役とやりとりする「飯焚き」の部分は、政岡役者が舞台上で茶の湯の手前を行うという演出だが、大きな筋の動きがなく短縮されることが多い。
English: Although Yashio is often played by an actor who usually plays a male role, he is required to have the acting skills equivalent to that of the actor playing Masaoka.
Japanese: 八汐は立役が加役として演じることが多いが、政岡役の役者と対等の芸力が要求される。
English: In this sense, Ganjiro NAKAMURA (the second) and Kanzaburo NAKAMURA (the seventeenth) were two great actors for Yashio, for their dramatic acting typical to Maruhonmono play (Kabuki adaptation of Ningyo Joruri play), strength and charms.
Japanese: その意味でも、中村鴈治郎(2代目)と中村勘三郎(17代目)は、丸本物狂言のコクと線の強さに色気を備え、八汐役者の双璧であった。
English: Arajishi Otokonosuke is a loyal retainer, but has been kept away from his lord because of false slander against him, and secretly guards the mansion from under the floor.
Japanese: 讒言によって主君から遠ざけられ、御殿の床下でひそかに警護を行っていた忠臣・荒獅子男之助。
English: He appears as he stamps the mouse holding the scroll in its mouth (the one which has appeared just before the curtain fall of 'Mansion'), and says, "how suspicious!"
Japanese: 巻物をくわえた大鼠（御殿幕切れに登場）を踏まえて「ああら怪しやなア」との台詞で登場する。
English: The mouse, having been beaten with an iron fan, runs away from Otokonosuke, and returns to his true form in smoke as Danjo NIKKI, with a wound between his eyebrows and the scroll in his teeth, making a magic gesture with his hands.
Japanese: 鉄扇で打たれた鼠は男之助から逃げ去り、煙のなか眉間に傷を付け巻物をくわえて印を結んだ仁木弾正の姿に戻る。
English: Changing dramatically from 'Mansion' in which main characters are females and Gidayu (a style of Joruri) is played, this is a great scene in which a rough and fierce hero confronts a mysterious male villain, using stage settings like Seri (trap-door lift at the stage) and Suppon (small Seri near the section where Hanamichi [passage through audience to stage] joins the stage).
Japanese: 女性中心からなる義太夫狂言様式の「御殿」から一変して、せり上がりやすっぽんなどの仕掛けを用い、荒事のヒーローと妖気漂う男性の悪役が対峙する名場面である。
English: Koshiro MATSUMOTO (the fifth) was a star actor for Danjo NIKKI, so that paying respects to him, Danjo has a mole on his chin just as Koshiro (the fifth) had, and wears a costume with the crest of Hanabishi (rhombic flower) derived from his Kamon (family crest).
Japanese: 仁木弾正は、松本幸四郎(5代目)が当り役にしており、弾正の頬の黒子と衣装の花菱の紋は、五代目が実際にあった黒子と幸四郎の家紋とに敬意を表してつけられたものである。
English: After the Meiji Restoration, Danzo ICHIKAWA (the seventh), and after the end of the Second World War, Shoroku ONOE (the second) and Uzaemon ICHIMURA (the seventeenth) were major actors who gave great performances.
Japanese: 近代では市川團蔵(7代目)、戦後は尾上松緑(2代目)、市村羽左衛門(17代目)などが名演技を示した。
English: There is an instruction handed down orally that when Danjo makes a magic gesture after appearing from Suppon, his hand gesture should write "Oiri Kanou" (best wishes for a successful performance).
Japanese: 弾正がスッポンからせり上がってのち結ぶ印相は「大入叶」と書くように口伝が残されている。
English: An old retainer Gekizaemon WATANABE (corresponds to Aki DATE), his son Minbu WATANABE, Shikanosuke YAMANAKA and Saizo SASANO, who are all loyal retainers, confront Danjo NIKKI, Onitsura OE (corresponds to Hyobu DATE) and Kanzo KUROSAWA at Monchusho (Department of Justice in the Shogun's Government).
Japanese: 老臣・渡辺外記左衛門（伊達安芸に相当）、その子渡辺民部、山中鹿之介、笹野才蔵ら忠臣が問註所で仁木弾正、大江鬼貫（伊達兵部に相当）、黒沢官蔵らと対峙する。
English: Sozen YAMANA is an outrageous judge who is in favor of Danjo and burns the evidence of a secret letter.
Japanese: 裁き手の山名宗全は弾正よりで、証拠の密書を火にくべさえする無法ぶり。
English: When everyone thinks that Gekizaemon's side will lose, another judge Katsumoto HOSOKAWA (corresponds to Itakura Naizen no Kami [Head of Imperial Table Office]) appears and while paying his respect to Sozen, accuses Danjo's side of their disloyalty, ironically comparing them to a fox borrowing the tiger's might (that means a person acting arrogantly taking advantage of his powerful connections).
Japanese: 外記方の敗訴が決まるかというその時に、もう一人の裁き手である細川勝元（板倉内膳正に相当）が登場し、宗全を立てながらも弾正側の不忠を責め、虎の威を借る狐のたとえで一味を皮肉る。
English: Katsumoto himself has obtained a part of evidence of secret letter that contains a cheap trick made to signatures, and using it as a trigger, he grills Danjo briskly and leads the Gekizaemon's side to victory.
Japanese: 自ら証拠の密書の断片を手に入れていた勝元は、署名に施した小細工をきっかけにさわやかな弁舌で弾正を追及し、外記方を勝利に導く。
English: Although it is set during the times of the Onin War, the current play looks like it is set durng the Edo period, with some influence of Katsureki (a Kabuki style that emphasizes on historical facts) during the Meiji period.
Japanese: 時代を応仁に取りつつも、現行の舞台は明治の活歴の影響をうかがわせる江戸時代劇風。
English: The core of this drama is a confrontation between the justice briskly delivered by Katsumoto, imaged as "Mei-bugyo" (excellent judge), and the smart evil represented by Danjo.
Japanese: “名奉行”をイメージさせる勝元の颯爽とした裁きと弾正の知能犯的悪人ぶりの対決がドラマの眼目である。
English: Shikanosuke YAMANAKA, Saizo SASANO and Onitsura OE had more appearances in a long script existed in the Edo period, however, as it has been shortened to the current structure of scenes, their major scenes have been lost.
Japanese: 山中鹿之介、笹野才蔵、大江鬼貫などは、江戸時代の長大な脚本の中では他に出番もあったが、現行の場割りに削られた結果、目立った活躍の場がなくなってしまった。
English: Having received the judgment, Danjo NIKKI, pretending to be sorry, approaches the Gekizaemon WATANABE in a waiting room and stabs him with a short sword he has secretly brought.
Japanese: 裁きを下された仁木弾正は、改心を装って控えの間の渡辺外記に近づき、隠し持った短刀で刺す。
English: Gekizaemon protects himself against the blade of Danjo just with a fan and almost gets killed, but Minbu and others rush into the scene to support Gekizaemon and then he kills Danjo.
Japanese: 外記は扇子一つで弾正の刃に抗い、とどめを刺されそうになるが、駆けつけた民部らの援護を受けて弾正を倒す。
English: Katsumoto HOSOKAWA appears before them, praises Gekizaemon and others for their service and gives a certificate guaranteeing Tsuruchiyo's succession of the family headship.
Japanese: 一同の前に現れた細川勝元は外記らの働きをたたえ、鶴千代の家督を保証する墨付を与える。
English: As for the scene in which Danjo stabs Gekizaemon, Danjo apologizes Gekizaemon just before stabbing him.
Japanese: 外記を刺すときは、弾正が一旦外記に詫びいれ、直後に短刀で外記を刺す。
English: Then he runs to the section where Hanamichi joins the stage, puts the short sword in his teeth, pulls up the right and left sides of Hakama (skirt) with his hands, steps his right foot forward, and performs a Mie (a tense and symbolic pose at the emotional climax); this formalized tense movements have been handed down.
Japanese: そして花道付け際に一旦走って短刀を口にくわえ、両手で袴の股立ちを取り右足を踏み出し見得をする緊迫した型が残されている。
English: This part is usually not performed, and in the postwar period, only Kanzaburo NAKAMURA the seventeenth performed it in 1968 at the National Theater of Japan.
Japanese: 通常は、この場面は上演されず、戦後でも、わずかに昭和43年（1968年）に国立劇場で十七代目中村勘三郎が演じたくらいである。
English: The scene usually starts with the retainers in a hall noticing that something has happened and injured Gekizaemon unsteadily coming out.
Japanese: 普通は大広間で諸士が異変に気づき、傷ついた外記がよろぼい出るところから始まる。
English: This scene has been stylized, with a screen of dragon in the clouds painted in black ink placed in the hall and Danjo wearing a white Juban (undershirt for Kimono), tucking up the sleeves of his Kimono with a cord used for fastening a sword to a belt, and Suami (a mesh shirt representing habergeon) next to his skin.
Japanese: この場は様式化され、大広間には雲竜の墨絵の衝立が置かれ、弾正の衣装は白のじばんに刀の下げ緒で襷をかけ、素肌に素網を着用するのが定着している。
English: Danjo performs a beautiful Mie here, such as Mie of single horn, raising up the short sword over his head, or Mie of heron, standing with only left foot and raising up the short sword.
Japanese: ここで見せる弾正の見得は、短刀を頭に振り上げる一本角の見得、左足のみで立って短刀を振り上げる鷺見得など美しい型を見せる。