nntsuzu/KFTT huggingface dataset:
English: Komoyo mikomochi fukushimoyo mibukushimochi konowokani natsumasuko ienoshirase nanorasane soramitsu yamatonokuniha oshinabete warekosowore shikinabete warekosomase warenikosoha norame iewomonawomo (The basket you carry, so pretty; your digging tool, so elegant: Girl picking herbs on the mountain, tell me your family, tell me your name: All of the land of Yamato follow me; and I watch over all of the land: For me, please tell me your family, tell me your name) (Volume 1, 1)
Japanese: 籠（こも）よ　み籠（こ）持ち掘串（ふくし）もよ　み掘串（ぶくし）持ち　この岳（をか）に　菜摘（なつ）ます児（こ）　家告（の）らせ　名告（の）らさね　そらみつ　大和（やまと）の国は　おしなべて　われこそ居（を）れ　しきなべて　われこそ座（ま）せ　われにこそは　告（の）らめ　家をも名をも（巻1・1番）
English: Komoyo mikomochi fukushimoyo mibukushimochi konowokani natsumasuko ienoshirase nanorasane soramitsu yamatonokuniha oshinabete warekosowore shikinabete warekosomase warenikosoha norame iewomonawomo (篭毛與 美篭母乳 布久思毛與 美夫君志持 此岳尓 菜採須兒 家告閑 名告紗根 虚見津 山跡乃國者 押奈戸手 吾許曽居 師吉名倍手 吾己曽座 我許背齒 告目 家呼毛名雄母)
Japanese: 篭毛與美篭母乳布久思毛與美夫君志持此岳尓菜採須兒家告閑　名告紗根虚見津山跡乃國者押奈戸手吾許曽居師吉名倍手吾己曽座我許背齒告目家呼毛名雄母
English: Based on the choka 'Yuen aru Zoka' (time-honored Zoka) in Volume 16 which contains references to an old bamboo cutter and a celestial nymph, it has been pointed out that the Manyoshu is linked to Taketori monogatari.
Japanese: 巻16「由縁ある雑歌」には竹取の翁と天女が登場する長歌があり、竹取物語（かぐや姫物語）との関連が指摘される。
English: The choka composed by TAKAHASHI no Mushimaro in volume 9 contains elements of the original tale of Urashima Taro.
Japanese: 巻9の高橋虫麻呂作の長歌に浦島太郎の原型というべき内容が歌われている。
English: The Manyoshu contains poems writing about 'isana,' an expression which generally indicates whales, and which is written as 鯨魚, 鯨名, 勇魚, 不知魚, and 伊佐魚.
Japanese: 万葉集には「いさな（鯨魚）」を詠んだ歌が詠われているが、いさなとは鯨魚、鯨名、勇魚、不知魚、伊佐魚とも表記していて、主に鯨類をさす。
English: And the word 'isana-tori', mainly meaning whale fishing, was widely used as a set epithet to describe the sea, an inlet, a beach, the open sea and the like.
Japanese: そして「いさなとり」は、捕鯨を意味し主に海、浦、浜、灘などを表す枕詞として使われていた。
English: Isana-tori' Omi no umi wo oki sakete kogikurufune hetsukite kogikuru fune oki tsu kai itaku na hane so he tsu kai itaku na hane so wakakusa no tsuma no omo tori tatsu (Omi's whale-hunted waters leaving the offing as you approach nearing the shore as you approach; Do not strike your oars so roughly in the offing! Do not strike your oars so roughly near the shore! The bird of my husband supple as the young grass will fly away.)
Japanese: 「いさな取り」　淡海の海を　沖さけて　こぎくる船　辺附きて　こぎ来る船　沖つ櫂　いたくな撥ねそ　邊つ櫂　いたくな撥ねそ　若草の　つまの　思ふ鳥立つ
English: Koshi no umi no Tsunuga no hama yu Obune no Makaji nuki oroshi 'isana-tori' umiji ni idete (Large ship left Tsunuga Beach in Etsu sea with the oars down to go for whale fishing.)
Japanese: 越の海の　角鹿の浜ゆ　大船の　真楫貫きおろし　「いさなとり」　海路に出でて
English: In the 1960s, Tokutaro YASUDA stated in his book "Manyo no Nazo" (Mystery of the Manyoshu) that the parent language of Japanese is Rong from the northern part of India, and that the Manyoshu can be read by the Rong.
Japanese: 1960年代には安田徳太郎が『万葉集の謎』に於いて日本語の祖語はインド北部レプチャ語であるとし、万葉集はレプチャ語で読めると主張していた。
English: In the 1980s, it was suggested that the language used in the "Manyoshu" is related to ancient Korean, and that the Manyoshu could have been read by Koreans of that time, and a series of books about this theory became a bestseller.
Japanese: また、1980年代に、『万葉集』の言葉は古代朝鮮語と関係がある、又は、それにより解釈できるという意見が出され、一連の著作がベストセラーになったことがある。
English: This idea was thoroughly opposed and criticized by the Japanese language scholars of the time, and it is taken as a kind of pseudoscience or folk etymology, i.e. merely a coincidence of languages, and it is no longer taken seriously.
Japanese: しかしながら、当時から日本語学の研究者の手によって徹底的な反論と批判がなされており、学界からは疑似科学・民間語源の一種（単なる言葉の偶然の類似）として受け止められ、近年ではまともに相手にもされていない。
English: Some Korean nationalist sentiments assert that the whole of ancient Japanese culture originated from the Korean Peninsula (put forward by Pak Pyong Sik and Yi Yong-hui), and some Japanese people including Yuka FUJIMURA have also supported those views, and elements of the media including the Japan Broadcasting Corporation (such as NHK, which is recognized as a respected state-run broadcasting station in other countries, in some ways moreso than in Japan) and major publishing houses including Bungeishunju Ltd. and Shincho Publishing Company have reported that those opinions have been shared by some Japanese people.
Japanese: それを逆手にとった、日本の古代文化をすべて朝鮮半島由来とする韓国の民族主義（朴炳植、李寧煕など）、さらにそれに迎合する一部の日本人（藤村由加など）の言説や、それを好意的にとりあげた日本放送協会（ＮＨＫ。海外では「国営放送局」と認識され、国内以上に権威主義的な影響力がある）などマスメディア、文芸春秋社や新潮社など大手出版社の影響力が介在している。
English: Many Korean scholars have mixed feelings in relation to documents which prove that literature and an original writing system had been widely established in Japan including for people outside the aristocracy much earlier than in Korea; therefore, some Korean scholars may prefer to adhere to hypothesis of direct relationship between 'the ancient Korean language' and the "Manyoshu" without concrete scientific evidence to back up the assertion.
Japanese: 多くの韓国人学者は、庶民も含む広範な文学の成立と固有言語の表記法が、自国よりもはるか以前の時期に日本において文献で確認できることに複雑な感情を抱いており、「古代朝鮮語」と『万葉集』の直結的関連性については、韓国の学界では科学的論証を経ずに肯定的に捉えられている。
English: However, there is no logical or rational ground for denying the conventional interpretation of the reading of the "Manyoshu," which means that the idea of taking the "Manyoshu" as being derived from the ancient Korean language have technically collapsed.
Japanese: しかし、従来の日本語的な解釈で『万葉集』を読むことを否定する論理的・合理的な根拠は全く存在せず、『万葉集』＝古代朝鮮語とする説は、学術的には完全に破綻しているといえよう。
English: The view of pursuing the relationship between other languages and the Japanese based on the opinion that the "Manyoshu" has many correlations with that language has been frequently stated in connection with the grounds for justifying Japan's imperialistic expansionism after the Meiji period, and there is no novelty in this view.
Japanese: そもそも、『万葉集』を外国語と一致するとして日本語との関連性を追求する主張は、帝国主義的な拡張主義を正当化する論拠として、日本において明治時代以来頻繁に行われてきているものであり、特に目新しい主張というわけでもない。
English: In other words, this could be said to be on a par with the popular folklore of identifying Genghis Khan with MINAMOTO no Yoshitsune.
Japanese: いわばチンギス・ハーンは源義経と同じ人物だとする俗説と軌を一にしているといえよう。
English: Nise-e are realistic portrayals of courtiers and warriors, as well as drawings of armor on cattle and horses for record purposes, painted in the yamato-e style from the mid-13th century to mid-15th century.
Japanese: 似絵とは13世紀中頃から15世紀中頃にかけて、写生的で記録性の強い大和絵系の肖像画や牛馬具足などの図を似絵（にせえ）と呼んだ。
English: Hotaru Hyobukyo no Miya is a fictitious character in "The Tale of Genji" written by Murasaki Shikibu (note that he is not the same person as Hyobukyo no Miya, an elder brother of Fujitsubo).
Japanese: 蛍兵部卿宮（ほたるひょうぶきょうのみや）は、紫式部が著した小説『源氏物語』に登場する架空の人物である（藤壺の兄の兵部卿宮とは別人）。
English: He appeared as Sochi no Miya in the chapter 'Hana no En' (The Festival of the Cherry Blossoms) and then was appointed to Hyobukyo no Miya after Fujitsubo's brother was appointed to Shikibukyo no Miya in the chapter 'Otome' (The Maidens).
Japanese: 「花宴」で帥宮として登場、「少女」で藤壺の兄宮が式部卿宮となった後を襲い兵部卿宮となる。
English: He was famous as a man of refined taste at the time, so he played the role of judge in 'Eawase' (A Picture Contest) and 'Umegae' (The Plum Tree Branch), and often appeared in scenes of court music performance.
Japanese: 当代きっての風流人として知られ、「絵合」「梅枝」などで判者をつとめた他、管弦の場面でもたびたび登場する。
English: He was close to Hikaru Genji in particular among his brothers and he stayed in touch with Genji during his dark days (chapter 'Suma'), and never ceased to be a friend of Genji.
Japanese: 兄弟の中でも源氏とは特に仲がよく、源氏の不遇な時代にも交流を断たなかったこともあって（「須磨」）、その後も親しく交際を続けた。
English: His first legal wife was a daughter of the Minister of the Right to the Emperor Kiritsubo (and a sister of Lady Kokiden and Oborozukiyo; therefore Tono Chujo was his brother-in-law), but he lost his wife early.
Japanese: 最初の正妻は桐壺帝の右大臣の娘（弘徽殿女御・朧月夜の姉妹。つまり頭中将とは相婿である）で、早くに死別。
English: In a well-known episode in the chapter 'Hotaru,' he was tricked by Genji to see bewitching Tamakazura, with whom he kept communicating by mail, but his love for her was lost because Higekuro married Tamakazura.
Japanese: 「蛍」で源氏の悪戯により玉鬘の艶やかな姿を目の当たりにした逸話は有名で、その後も文を取り交わしていたが、髭黒に奪われ思いは叶わなかった。
English: Later he became a candidate for the husband of Onna Sannomiya (the Third Princess) but he failed again, so he ended up marrying Makibashira (Higekuro's daughter and Shikibukyo no Miya's granddaughter), but their marriage didn't go well (chapter 'Wakana' (New Herbs): Part One).
Japanese: その後女三宮の婿候補にも挙がったが果たせず、結局真木柱（髭黒の娘、式部卿宮の孫）を後妻としたものの、夫婦仲は芳しくなかった（「若菜下」）。
English: His last appearance was in the chapter 'Maboroshi' (The Wizard) when he visited Hikaru Genji who was broken-hearted after his wife Lady Murasaki's death; in the chapter 'Kobai' (the rose plum) it was mentioned that Hotaru Hyobukyo no Miya had already been dead.
Japanese: 「幻」で紫の上を失い傷心の源氏を見舞ったのが最後の登場で、「紅梅」で既に死去していたことが知られる。
English: He had two sons (appeared in chapter 'Wakana' (New Herbs): Part Two and their mother unknown) and a daughter (Miya no Onkata; her mother was Makibashira. Appeared in 'Kobai').
Japanese: 子女は息子二人（「若菜下」に登場、母は不明）と娘（宮の御方、母は真木柱。「紅梅」に登場）がいる。
English: Although he loved his first wife and missed her after her death, he seemed to have many other women to visit and mistresses ('Kocho').
Japanese: 最初の正妻を愛して死後も懐かしんだが、他にも通う女性や召人なども多かったらしい（「胡蝶」）。
English: Lady Kokiden is the name for fictitious empresses in stories whose real names were unknown.
Japanese: 弘徽殿女御（こきでんのにょうご）は、物語に登場する、本名のわからない架空の皇妃の便宜上の名称。
English: Lady Kokiden is a fictitious person in "The Tale of Genji" written by Murasaki Shikibu.
Japanese: 弘徽殿女御（こきでんのにょうご）は、紫式部が著した小説『源氏物語』に登場する架空の人物である。
English: She was a daughter (probably the eldest) of Udaijin at the time of the Emperor Kiritsubo, and was the first empress married to Kiritsubo when he was still the crown prince.
Japanese: 桐壺帝の右大臣の娘（恐らく長女）で、桐壺帝がまだ東宮であった頃入内した最初の妃。
English: She lived in the Kokiden of the highest prestige among the empresses' residences and exerted power, but Kiritsubo no Koi (lower class court lady) took away the love of the Emperor Kiritsubo from her, and that was why she detested Hikaru Genji, the son of Kiritsubo no Koi, even after his mother died.
Japanese: 後宮で最も格の高い弘徽殿に住まい権勢を誇ったが、桐壺帝の寵愛を桐壺更衣に奪われたことで、更衣の死後も忘れ形見である光源氏を激しく憎んだ。
English: She was particularly outraged by Genji's relation with Aoi no ue (Lady Aoi) and her younger sister Oborozukiyo (the misty moon), because she hoped to make both of them to be empresses of the crown prince.
Japanese: とりわけ、東宮の妃にと希望していた葵の上と妹朧月夜の二人を源氏に奪われたことに憤った。
English: Therefore, she vehemently rejected Udaijin's plan to marry Oborozukiyo to Genji after the death of Lady Aoi.
Japanese: 葵の上の死後に右大臣が朧月夜と源氏を結婚させようとした時も、猛反対して許さなかった。
English: She also had strong hostility toward Fujitsubo who was the very image of Kiritsubo no koi, because Genji became attached to Fujitsubo.
Japanese: 桐壺更衣に生き写しの藤壺に対しても、源氏が藤壺に懐いたこともあって強い敵愾心を抱く。
English: Later, when Fujitsubo gave birth to a prince (later the Emperor Reizei who was actually Genji's son) and became Chugu (the Empress), Lady Kokiden was very upset because she was supposed to be Chugu as the birth mother of the next emperor (chapter 'Momiji no Ga' (The Autumn Excursion)).
Japanese: 後に藤壺が皇子（後の冷泉帝、実は源氏の子）を産んで中宮に立った時、次期帝の生母である自分を差し置いての立后にひどく憤慨した（「紅葉賀」）。
English: After that, when Genji's affair with Oborozukiyo who was Naishi no tsukasa (female palace attendant) was revealed, the Empress Kokiden succeeded in ruining Genji and exiling him to Suma; when her father Daijo-daijin (Grand Minister and ex-Minister of the Right) died and her own health deteriorated due to illness, however, she couldn't stop the Emperor Suzaku from pardoning Genji.
Japanese: その後内侍司となった朧月夜と源氏の関係が発覚したことで、源氏の失脚を謀り須磨への追放に成功したが、父太政大臣（元右大臣）の死去、また自らの病で力を失い、朱雀帝の源氏召還を止めることができなかった。
English: In chapter 'Otome' (Maidens) it is described that when Genji and the Emperor Reizei visited her, she regretted her cruel treatment of them but still she acted willfully again and again that bothered the Suzakuin (the name of Emperor Suzaku after retirement).
Japanese: 「少女」で源氏と冷泉帝の見舞いを受け、かつての仕打ちを後悔しつつも、その後もたびたび我がままを言って朱雀院を困らせたと述べられている。
English: She was referred to only by name in the chapter 'Hatsune' (First Warbler) for the last time and in the chapter 7Wakana: Jo' (New Herbs, Part I) it was told that she had already been dead.
Japanese: その後は「初音」で名前のみ登場するのを最後に、「若菜上」で既に故人であることが告げられた。
English: Lady Kokiden came from a powerful family and was so fierce that the mother of Fujitsubo Chugu was afraid of the request from the Emperor Kiritsubo to send her daughter into the court, but it was a proof of her dignified presence.
Japanese: 権門出身で気が強く、その激しさは藤壺中宮の母后が桐壺帝からの入内要請に恐れをなしたほどだったが、それだけ重々しい存在感を示す女性である。
English: Particularly after she became the Empress Dowager, she exerted absolute power as the mother of the emperor.
Japanese: 特に皇太后となってからは、帝の母后（国母）として絶大な権力を振るった。
English: She tends to be regarded as a villain who tortured Genji the most among his political opponents, but she is also a typical character to depict the empress's residence and Sekkan-ke, the families which produced the Regent and the Chief Adviser to the Emperor, at the time of the story.
Japanese: 主人公源氏の政敵の中でも、とりわけ源氏を苦しめる悪役と見られがちだが、物語当時の後宮や摂関家のありかたを示す典型的人物でもある。
English: It is said that a model of Lady Kokiden is modeled on FUJIWARA no Onshi who was the Emperor Daigo's Empress, because the life of Lady Kokiden resembled her life.
Japanese: なお、経歴が醍醐天皇中宮藤原穏子に類似していることから、これをモデルとすると言われている。
English: Among them were: Togan UNKOKU and Tooku UNKOKU who served Terumoto MORI, Toeki UNKOKU who served Masanori FUKUSHIMA, and Toji UNKOKU and 雲谷等遮 during the Edo period.
Japanese: 毛利輝元に仕えた雲谷等顔、雲谷等屋、福島正則に仕えた雲谷等益や、江戸時代の雲谷等爾、雲谷等遮らがいる。
English: Apart from standard landscapes painted in Indian ink in the tradition of Sesshu, there are also some works with painted flowers and birds as their subject matter.
Japanese: 雪舟の流れを汲んだ真体水墨画的な山水図などの他、彩色した花鳥を題材とした作品も見られる。
English: Rikyu Doka (literally, Rikyu's teaching poems), also called 'Rikyu hyakushu' (literally, Rikyu's one-hundred poems), are the teachings of SEN no Rikyu in the form of waka poetry to make them easily understood.
Japanese: 利休道歌（りきゅうどうか）は「利休百首(りきゅうひゃくしゅ)」ともいって、千利休の教えをわかりやすく、覚えやすいように、和歌の形にしたもの。
English: She was one of among more than 10 lovers of OTOMO no Yakamochi, and was a poetess as excellent as her contemporary, OTOMO no Sakanoue no Iratsume.
Japanese: 大伴家持とかかわりのあった十余人の女性のひとりで、同時代では大伴坂上郎女とならび称されるすぐれた女性歌人。
English: It is widely known that when Ogai MORI and others published the "Omokage" (Vestiges, 1889), an anthology of poems in translation, they used the 396th poem of the Manyoshu as the source for its title.
Japanese: 森鴎外らが訳詩集『於母影』（1889年）を出すにあたって、396番歌を題名の典拠としたことはよく知られる。
English: In addition, there is an adaptation of the 594th poem of the Manyoshu: The dewdrops, under the grass in the garden which is seen in the light of the setting sun, are like the tears shed while waiting for evenings (composed by FUJIWARA no Michitsune, No. 1190, Love Third, Volume 13 of Shinkokin Wakashu [New Collection of Ancient and Modern Japanese Poetry]).
Japanese: また、594番歌を本歌取りしたものに、庭に生ふるゆふかげ草のした露や暮を待つ間の涙なるらむ（藤原道経、新古今和歌集巻第十三、恋三、1190）
English: There is another poem which consciously imitated the 608th poem of the Manyoshu: Love for the person who doesn't care for me is more in vain than writing numbers on flowing water (Anonymous, No. 522, Love First, Kokin Wakashu [A Collection of Ancient and Modern Japanese Poetry]).
Japanese: 608番歌を本歌取りしたものに、行く水に数書くよりもはかなきは思はぬ人を思ふなりけり（よみ人知らず、古今和歌集恋一、522）がある。
English: Senryu KARAI, a composer of these maeku (previous verses) in the Edo period, selected poems first, and then GORYOKEN Arubeshi chose poems among these and published them as "Haifu-Yanagidaru".
Japanese: 江戸時代の前句師・柄井川柳が選んだ句の中から、呉陵軒可有が選出して『誹風柳多留』（はいふうやなぎだる）を刊行した。
English: When it became popular, this genre became called 'senryu'.
Japanese: それが盛んになったことから、「川柳」という名前で呼ばれるようになった。
English: During this period, senryu had 'ugachi' (probing or penetrating, pointing out facts tend to be overlooked), 'okashimi' (funny and humorous) and 'karumi' (lightness and simplicity) as its three major characteristics, and many poems were about the subtleties of human nature and the workings of the heart.
Japanese: 同時代は、「うがち・おかしみ・かるみ」という3要素を主な特徴とし、人情の機微や心の動きを書いた句が多かった。
English: "Haifu-Yanagidaru" was published every year until 1838, even after the death of Senryu KARAI, coming to 167 issues.
Japanese: 柄井川柳の死後も『誹風柳多留』は毎年刊行され、幕末（1838年、天保9年）まで167編を数えた。
English: During the Kansei Reforms at the end of eighteenth century, the authorities censored senryu; for example, some senryu poems including politics, gambling and erotica in the "Haifu-Yanagidaru" were expurgated because they were regarded as corrupting public morals.
Japanese: 18世紀末の寛政の改革では政治、博打、好色といった風俗を乱す句が『誹風柳多留』から削除されるなどの検閲がなされた。
English: After the first Senryu passed away, the double screening system, where poems were screened at maekuzuke (a verse-writing game) contests and then when publishing the poetry collection 'Yanagidaru', was lost.
Japanese: 初代川柳没後は、前句附興行から選句集「柳多留」への二重選考システムが失われた。
English: The contest gradually and increasingly became more like a kukai (gathering for composing poems), and the referee was chosen freely from among veteran poets and even the 'Yanagidaru' fell so low as to function as a mere publication of the results of kukai.
Japanese: 次第に句会としての形式を強め、選者もベテラン作者が任意に行なうようになり、「柳多留」も句会発表誌の役割になりさがった。
English: But in the period of the 'haifu-kyoku' (literally, kyoku (a kind of humorous haikai without haikai conventions) with a taste of haiku), which was named by Senryu IV, senryu became popular in the context of Edo townspeople's culture in the Bunka and Bunsei eras.
Japanese: しかし、四世川柳の命名した「俳風狂句」時代は、文化文政期の江戸町人文化を背景に盛んとなった。
English: Men of culture regarded as being of the first-rank such as Kiyoshi MATSURA, a daimyo (feudal lord) of a 63,000 koku fief in Hirado Domain in Kyushu (also known as 松山, 流水 and 柳水), Hokusai KATSUSHIKA (aka 卍), the founder of dodoitsu (Japanese popular love songs of the Edo period in the 7-7-7-5 syllable pattern) Senka DODOITSUBO and Tanehiko RYUTEI, the author of the 'Nise Murasaki Inaka Genji' (The False Murasaki and the Rustic Genji)' (aka 木卯) lined up to be Senryu IV's pupils.
Japanese: 四世川柳の門人には、九州・平戸藩6万3千石の大名・松浦清（柳号・松山、流水、柳水）や葛飾北斎（柳号・卍）、都々逸の創始者・都々逸坊扇歌、「偐紫田舎源氏」の作者・柳亭種彦（柳号・木卯）など、当時一流の文化人が名を連ねている。
English: However, Senryu IV was forced to give up his pseudonym before or after the Tempo Reforms because he was told that it had been having a bad effect on his official position.
Japanese: ところが、天保の改革に前後して、四世川柳は、公職の障りになるとして川柳号を辞めさせられた。
English: He gave the name of Senryu V to Namagusai-Tazukuri (Kinzo MIZUTANI), a fish wholesaler in Tsukuda-jima Island, and he called himself 'Ryuo' (literally, the venerable old willow).
Japanese: 佃島の魚問屋・腥斎佃（水谷金蔵）に五世川柳を譲り、自らは「柳翁」となった。
English: The clampdown on public morals during the Tempo Reforms, as a matter of course, also came to the world of kyoku, which had suebanku (erotic love poems), and regulations became strict.
Japanese: 天保の改革の風俗取締りは、当然、末番句を有する狂句界にも及び、取締りが厳しくなった。
English: Senryu V sought out the survival of kyoku by changing its contents, and created examples in the world of kyoku such as 'ryufu-shikiho' (rules of composing senryu) and 'kuan jittai' (ten techniques to compose senryu).
Japanese: 五世川柳は、狂句の存続を内容的変化に求め、「柳風式法」や「句案十体」という狂句界の規範を作った。
English: It caused the degradation of senryu into a shallow word game by the poets of the ryufu-kyoku circle (kyoku in the style of senryu) in later generations which treated these as infallible rules.
Japanese: これを金科玉条とした以後の柳風狂句会の作者により、表面的な言葉遊びに堕落させてしまう原因となった。
English: This was not the fault of Senryu V, but an action he took to protect the senryu form which had been exposed to severe criticism at that time and it is likely that he had no other choice.
Japanese: これは、五世川柳が悪いというのではなく、時代の風波に晒された川柳風を守る行為であり、いたしかたない選択であったろう。
English: The problem was insufficient leadership of the leaders of ryufu-kyoku during the Meiji period, who would not try to change with the trends of the times even after the civilization and enlightenment movement.
Japanese: 問題は、文明開化以後も、時代の風潮に変わらなかった明治柳風狂句の指導者たちの指導力のなさである。
English: In the period from 1902 to 1903, Kuraki SAKAI appeared and under the influence of Shiki MASAOKA's revolution in tanka and haiku, the senryu reform movement gained a higher profile.
Japanese: 1902年～1903年（明治35年～36年）になると阪井久良伎が現れて正岡子規の短歌、俳句改革の影響を受け、川柳改革の意識が高まる。
English: The next year, a column named 'Shindai yanagidaru' (Yanagidaru on Modern Topics) in the newspaper 'Nippon' was given to Kenkabo INOUE, and it became a big hit.
Japanese: 翌年には、井上剣花坊が新聞「日本」に〈新題柳樽〉欄を与えられ、これが大ヒット。
English: Thereafter, senryu, which had had an objective point of view since the Edo period, gained from the senryu of the new trend a point of view that gazed into the poet's inner self.
Japanese: 以後、川柳は江戸からの客観的な視点の作風から、新傾向川柳によって作家の内面に向かう視点を獲得。
English: Moreover, in the field of this newly risen senryu, the range of its expression became wider and covered almost all human feelings by being linked with a proletarian point of view and by producing a pure poetic style.
Japanese: さらに新興川柳では、プロレタリアート思想と結びついたり、純詩的作風が生れたりして、川柳の表現分野は、人事面360度の幅広いものとなった。
English: That caused a big wave of Shin Senryu (New Senryu) all over the country, and produced many senryu poets.
Japanese: それは全国に新川柳の大きな波を起こし、多くの川柳家を生み出すこととなった。
English: The central figures were the following six societies: Santaro KAWAKAMI's 'Senryu kenkyu' (Study of Senryu), Shugyo MURATA's 'Senryu kiyari', Jakuro MAEDA's 'Senryu', Suifu KISHIMOTO's 'Bangasa' (coarse oilpaper umbrellas), Jiro ASO's 'Senryu zasshi' (Senryu Magazine) and Monta SUGIMOTO's 'Fuausuto', although the last one was a little smaller in scale.
Japanese: その中核は、川上三太郎の「川柳研究」、村田周魚の「川柳きやり」、前田雀郎の「せんりう」、岸本水府の「番傘」、麻生路郎の「川柳雑誌」そしてやや小ぶりだが、椙元紋太の「ふあうすと」の6社である。
English: They contributed greatly toward the diversification of senryu, and passions became part of the expression in senryu as female poets increased in number.
Japanese: これは、川柳の多角化におおいに貢献し、女流作家が増大するとともに情念も川柳の表現の一部となった。
English: Nowadays, as 'haiku' has accepted colloquial language and people who pursue poetic expression in senryu have been approaching literary language, it can be said that there are hardly any differences in expression between haiku and senryu on the surface.
Japanese: 現在では、「俳句」が口語を取り入れ、川柳の詩的表現を求める者が文語に近づくなど、表現の表面上では俳句と川柳の差がほとんどなくなってきたという部分もある。
English: At the present, senryu circles have seemed to become like an amusement for elderly people with contests and gatherings as its center under Zen Nihon Senryu Kyokai (National Japanese Senryu Society).
Japanese: 現在、川柳界は社団法人全日本川柳協会のもと、大会、句会を中心とする老人の娯楽的世界になりつつある。
English: The essential senryu poems showing the poet's soul that Shin Senryu had achieved, have been pursued only in extremely few senryu magazines.
Japanese: 新川柳が獲得してきた本来の、作者を表出する川柳作品は、ごく一部の川柳誌が追求しているのみである。
English: On the other hand, senryu contests inviting contributions from the public, which started with the 'Salaryman Senryu' and have gained in popularity, have a wide range of contributors from that younger generation to older people.
Japanese: その点で、「サラリーマン川柳」からブームとなった一般公募による川柳は、投稿者も若年世代から老人まで幅広い。
English: Senryu poems which have been collected from the public and screened by first-rank senryu poets as anthologists have been exceeding the level of mere 'punning senryu' and creating a new field of expression.
Japanese: 一流の川柳家を選者とした公募川柳作品では、単なる「語呂合わせ川柳」と呼ばれる域を越えて、新しい表現分野になりつつある。
English: In such a case, the style can even be called one of anonymous poems, moving away from the personal names of the composers, and it has something in common with the anonymous senryu poems in the period of the first Senryu.
Japanese: この場合、作者の個人名とは離れて、無名性の作品ともいえる作風であり、初代川柳期の無名性の川柳と似たものがある。
English: This backdrop to this is that the 'empathy' of 'the masses' is the basis for the appraisal of a poem, which can be said to have returned to Kuraki SAKAI's definition during the restoration in the Meiji period that 'senryu is poetry that evokes empathy'.
Japanese: この背景にあるのは、「大衆」の〈共感〉が作品評価のベースになっていることであり、阪井久良伎が明治中興期に定義づけた「川柳は横の詩」ということに戻ったともいえる。
English: The Shinkokin period is a literary period that refers to the era of transition from Heian literature (literature in Chuko) to Kamakura literature (medieval literature).
Japanese: 新古今時代（しんこきんじだい）とは、文学の区分のことで平安文学（中古文学）と鎌倉文学（中世文学）の間の移行期に当たる。