nntsuzu/KFTT huggingface dataset:
English: This 'Momochi' is a blood relative of the Momochi family that controls ninja, which is one of the grounds for the temporarily popular legend that Basho was ninja.
Japanese: この「桃地」が忍びの者を統括した百地一族との血縁というところから一時流行した芭蕉忍者説の根拠の一つとなっている。
English: The Haigo named 'Basho' comes from the fact that his pupil planted a Japanese banana plant (Basho), which was rare at the time, in a hermitage of Fukagawa, and Basho loved it.
Japanese: 「芭蕉」という号は深川の庵に弟子が当時珍しかったバショウ（芭蕉）を植え、それを芭蕉が愛したところから。
English: Today, 'Haigo' or 'Go' is a main form of naming with regard to nicknames of Haiku poets.
Japanese: 現在は、俳人の愛称という意味では「俳号」、「号」という呼び方が主である。
English: Many Kabuki actors enjoyed furyu including haiku as part of the education in the Edo period, and Haimyo originated as an item for the Kabuki actors.
Japanese: 江戸時代、歌舞伎役者には素養として俳句をはじめとする風流の道をたしなむ者が多く、もともとはそのための号として俳号が生れた。
English: As this cultural fashion was generalized to Kabuki actors, the item branched into Haimyo (a pen name of the haiku poet), which later developed into a name used by current actors.
Japanese: この文化的流行が歌舞伎役者に一般化するにつれて俳名に変化した（現代の俳優名に発展）。
English: Haimyo has been used as a nickname when calling an actor on a stage.
Japanese: 俳名が役者の愛称として、舞台に声を掛ける際などにも使われるようになった。
English: In the late Edo period, actors other than the chief Kabuki actors certainly had Haimyo in addition to a family stage name and other stage names whether or not he wrote haiku.
Japanese: 江戸時代後期に入ると名題以上の役者は、屋号、芸名のほかに、俳句を作る作らないに関わりなく必ず俳名を持つようになる。
English: For example, Baiko ONOE and Shoroku ONOE as a group of Kikugoro ONOE, Shikan NAKAMURA and Baigyoku NAKAMURA as a group of Utaemon NAKAMURA, and Gado KATAOKA, Gato KATAOKA, and Roen KATAOKA as a group of Nizaemon KATAOKA are successions of a family name derived from Haimyo.
Japanese: 例えば尾上菊五郎系統の尾上梅幸、尾上松緑、中村歌右衛門系統の中村芝翫、中村梅玉、片岡仁左衛門系統の片岡我童、片岡我當、片岡芦燕などは俳名由来の名跡である。
English: Moreover, the second-generation Ennosuke ICHIKAWA used by the first-generation Enno ICHIKAWA, and the first-generation Hakuo used by the eighth-generation Koshiro MATSUMOTO have branched into successions of the family name as inkyomei (name after retirement).
Japanese: 二代目市川猿之助が名乗った初代市川猿翁、八代目松本幸四郎が名乗った初代松本白鸚(初代)などは、それまで彼らが使っていた俳名を隠居名として名跡にしたものである。
English: An excerpt for actors (lines of the role excerpted from the scripts) has only the name of the role and Haimyo on its cover.
Japanese: 役者たちのために作られる書抜き（台本のうちその役の科白だけを書抜いたもの）の表紙には、役名と俳名のみが書かれている。
English: By the way, an actor who has inherited a succession of a family name derived from Haimyo also has another Haimyo.
Japanese: ちなみに現在では俳名由来の名跡を継いだ役者にもそれとは別に俳名がある。
English: In addition, in some haiku groups nowadays, Haigo in kukai (haiku gathering) is used to recognize regular members.
Japanese: なお、現代の俳句団体では、団体によって差はあるが、常連メンバー同士が句会の際に用いる俳号だけでお互いを認識している場合がある。
English: Therefore, Haigo may serve as a handling name in the internet community that actively performs off-line meetings.
Japanese: そういう意味で俳号は、オフラインミーティングを活発に行っているインターネットコミュニティにおけるハンドルネームに近い役割を担っていると言えよう。
English: On the other hand, some groups adopt a real name rather than Haigo after contributing a haiku in the bulletin.
Japanese: （反対に、投句を機関紙に掲載する際には、俳号ではなく本名を掲載する団体もある。)
English: Engeki Kairyo Undo (Theatrical Performance Improvement Movement) was a campaign launched during the Meiji period, that advocated reforming Kabuki (traditional drama performed by male actors) so it could meet standards of modern society.
Japanese: 演劇改良運動（えんげきかいりょううんどう）とは、明治時代に歌舞伎を近代社会にふさわしい内容のものに改めようとして提唱された運動。
English: Although the campaign itself was hardly successful, it marked a new phase in Kabuki by realizing the Emperor's appreciation of Kabuki and inspired followers to complete the (Tokyo) Kabuki-za Theatre.
Japanese: 運動自体は成功したとは言い難いが、天皇の観劇を実現させたほか、運動に刺激を受けて歌舞伎座が開場するなど、歌舞伎の新時代を画した。
English: As information about Western theatres was introduced to Japan thanks to the civilization and enlightenment movement during the Meiji period, criticisms were voiced at Kabuki for its far-fetched scenarios and outdated performance practices.
Japanese: 明治時代に入って文明開化の世となり、西洋の演劇に関する情報も知られるようになると、歌舞伎の荒唐無稽な筋立てや、興行の前近代的な慣習などを批判する声が上がった。
English: In 1872, Kabuki representatives were summoned to the prefectural office of Tokyo and required to revise Kabuki scenarios so they could become morally acceptable for aristocratic audiences or audiences from overseas and to stop offering bombast (wild words and decorative phrases).
Japanese: 1872年（明治5年）歌舞伎関係者が東京府庁に呼ばれ、貴人や外国人が見るにふさわしい道徳的な筋書きにすること、作り話（狂言綺語）をやめることなどを申し渡された。
English: Kabuki actors such as Danjuro ICHIKAWA IX presented performances that aimed for the accurate reconstruction of history, but Kabuki circles opposed these performances without exception.
Japanese: 市川團十郎(9代目)らは、正確な時代考証を目指して上演したが、歌舞伎関係者は軒並み反発。
English: Danjuro was torn to pieces by co-star Sojuro NAKAMURA while author Robun KANAGAKI sarcastically labeled Danjuro's performances as 'Katsureki'.
Japanese: 同座した中村宗十郎からはこてんぱんに叩かれ、作家の仮名垣魯文には「活歴」（かつれき）と皮肉られた。
English: The word 'Katsureki' literally means 'vivid rendition of history,' but this was nothing but a satirical remark by Robun, who suggested that those performances were not theatrical entertainment at all.
Japanese: 活歴とは文字通り「活きた歴史」という意味で、要するに「これは芝居といえるものではない」という嫌味に他ならない。
English: These performances actually made a grotesque impression on Kabuki fans and generally ended as box-office failures.
Japanese: 実際に活歴は歌舞伎のファンには奇異な印象を与えるもので、概ね興行的に失敗した。
English: In 1878, the inauguration ceremony of the recreated Shintomi-za Kabuki theatre, which featured a Western architectural style, was held spectacularly.
Japanese: 1878年（明治11年）には新富座が洋風建築で再建され、華々しく開場式が行われた。
English: Surrounded by the lit gas lamps and performing military band in the background, Kabuki actors such as Kanya MORITA XII, the owner of the theatre, and Danjuro IX, who were dressed in tailcoats, attended the ceremony.
Japanese: ガス灯が灯され、軍楽隊が演奏する中、座元の守田勘彌(12代目)、九代目團十郎をはじめとする歌舞伎役者は燕尾服で式に臨んだ。
English: Shinshichi KAWATAKE, a Kabuki writer, who became sick of the movement, declared his retirement from the Kabuki arena and changed his name to 'Mokuami KAWATAKE' (The word 'Moku' means 'quiet' in English) in 1881, with the satirical connotation of 'I will live in dumb silence' (However, he continued his creative activities afterwards).
Japanese: 歌舞伎作者の河竹黙阿弥はこうした動きに嫌気して引退を宣言、「もう自分は黙る」という皮肉を込めて「河竹黙阿弥」と改名した（1881年、ただしその後も創作活動は続けた）。
English: In 1886 when the Rokumeikan was in its heyday, the Engeki Kairyo Kai was organized by people from the political, business, and literature arenas such as Kencho SUEMATSU, Eichi SHIBUSAWA, and Masakazu TOYAMA, bowing to a request by the First Ito Cabinet.
Japanese: 鹿鳴館時代の1886年（明治19年）、第1次伊藤内閣の意向もあって、末松謙澄、渋沢栄一、外山正一をはじめ、政治家、経済人、文学者らが演劇改良会を結成。
English: Espousing theatre entertainment suitable for the upper class in a civilized nation, the organization proposed eradicating actors of female roles (hiring actresses), abolishing a passage through the audience to the stage, and upgrading theatres.
Japanese: 文明国の上流階級が見るにふさわしい演劇を主張し、女形の廃止（女優の出演）、花道の廃止、劇場の改良などを提言した。
English: In the following year (1887), the organization realized the attendance of the Meiji Emperor to a Kabuki presented on the temporary stage set up at the residence of Foreign Minister Kaoru INOUE.
Japanese: 翌1887年には、外務大臣井上馨邸に設けた仮設舞台で、明治天皇の天覧歌舞伎が実現した。
English: At the event, famous Kabuki actors such as Danjuro, Kikugoro, and Sadanji presented the programs such as 'Kanjincho,' which resulted in great improvement in the social standing of Kabuki actors.
Japanese: 団十郎、菊五郎、左団次らの名優が「勧進帳」などを演じ、これによって、歌舞伎役者の社会的地位は大いに上った。
English: The Engeki Kairyo Kai also proposed building a theatre, but the plan did not come true because of financial difficulties.
Japanese: この他、演劇改良会は劇場を建設することも企画したが資金難のため挫折した。
English: Engeki Kairyo Kari embraced radical ideas, and some of their proposals were disapproved, but it exerted a strong influence on the modernization of Kabuki.
Japanese: 演劇改良会の主張は急進的であり、受け入れられない面もあったが、歌舞伎の近代化に向けて大きな影響を及ぼした。
English: Moreover, under the leadership of Ochi FUKUCHI, a member of the Kariyo Kai, and other contributors, the Kabuki-za Theatre was completed at Kobiki-cho, Tokyo in 1889.
Japanese: また、改良会員だった福地桜痴らの手によって、1889年には東京木挽町に歌舞伎座が開場した。
English: In 2007, the Reigning Emperor attended the 'Shochiku O-Kabuki' (a series of Kabuki performances) event held at the International House of Japan.
Japanese: 2007年、国際文化会館で行われた「松竹大歌舞伎」を天皇が鑑賞した。
English: The International House of Japan is located at the site where Inoue's residence once stood, and the event commemorated the 120th anniversary of the Kabuki attended by the Meiji Emperor, held at Inoue's residence.
Japanese: 国際文化会館は井上邸跡地であり、井上邸での天覧歌舞伎から120年目にあたることから催されたものであった。
English: "Maizuru-ben" is a Japanese dialect descended from Kinki dialect and extended over the area from Maizuru City of Kyoto Prefecture along Wakasa Bay to a part of the Reinan region of Fukui Prefecture (Takahama-cho).
Japanese: 舞鶴弁（まいづるべん）は、若狭湾岸の京都府舞鶴市から福井県嶺南の一部（高浜町）に広がる、近畿方言の系統を汲む日本語の方言。
English: It has hardly any thing in common with Tango dialect spoken in nearby Miyazu City and Kyotango City, but rather resembles Tanba dialect.
Japanese: 近隣の宮津市や京丹後市で使用される丹後弁とは共通点がほとんど無く、むしろ丹波弁に近い。
English: According to a theory, the difference between the two dialects is due to a rugged mountainous area along the coast that blocked traffics of people where Nagu is located..
Japanese: 奈具は海岸沿いの険しい山岳地帯であり、人の往来が出来なかったことが丹後弁と舞鶴弁の違いを生んだとの説がある。
English: This 'chatta' of Maizuru dialect is derived from the name of a festival, 'Minato Maizuru Chatta Matsuri' which is held late in July every year.
Japanese: 毎年7月下旬に舞鶴市で行われている「みなと舞鶴ちゃったまつり」は、この舞鶴弁の「ちゃった」に由来する。
English: Being different from 'chatta' of Tokyo dialect, it implies a light deference similarly to 'hatta' of Kyoto dialect.
Japanese: 東京弁の「ちゃった」（＝してしまった）とは異なり、京都弁の「はった」と同等の、軽い敬意を込めた表現である。
English: It is a very convenient expression that you may use for anybody of the same age, senior or junior, or even for children of the neighborhood, except for yourself.
Japanese: 自分以外であれば、同年齢であっても年長者であっても、また、近所の子ども相手であっても使えるため、非常に便利。
English: The same 'chatta' is used not only in the Maizuru dialect area but also in the areas of Tanba dialect and a part of Banshu dialect (Kami-cho, Taka County, Hyogo Prefecture).
Japanese: なお、「ちゃった」は舞鶴弁だけでなく丹波弁や播州弁の一部地域（兵庫県多可町加美町(兵庫県)）でも用いる。
English: Kite kureta' (literally, 'has come or came all the way') -> 'Kite kure chatta' (a somewhat polite expression) or 'kichatta' (a flat expression).
Japanese: 「来てくれた」→「来てくれちゃった（やや丁寧な言い回し）」「来ちゃった（フラットな言い回し）」
English: The word 'Ura' in Maizuru dialect means 'ushiro or oku' ('behind' or 'back') in the common language, which causes confusion to unaccustomed people.
Japanese: また共通語で言う「後ろ・奥」を「うら」と言い、慣れない人は混乱する。
English: "Fundoshi" is a traditional underwear for men in Japan and other areas.
Japanese: 褌（ふんどし）は、日本をはじめとする地域での伝統的な男性用の下着である。
English: During the Sengoku period (the period of Warring States) in Japan, it was possible to discern the ranks of warriors killed in war by checking whether they were wearing fundoshi loincloths or not, since cloths at that time were generally expensive.
Japanese: 昔は布が高価であったことから、戦国時代(日本)では戦死者の身分は褌の有無で見分けを行っていた。
English: In those days hemps were mostly used, but later in the Edo period they were replaced by cotton which made fundoshi loincloths popular among the common people beside warriors.
Japanese: 当時は麻が主流であったが、江戸時代に入り木綿に代り、武士の他に一般庶民にも普及するようになった。
English: Until World War II, fundoshi loincloths had been the main underwear for adult men, but, since the end of the war, they fell rapidly into disuse because of the emergence of new style underwear such as briefs, trunks and so on along with the westernization of men's wear.
Japanese: 第二次世界大戦までは日本人成人男性の主な下着となっていたが、戦後、洋装化が進んだことや、ブリーフ、トランクス等の新しい下着が出現したことで、急速に廃れた。
English: The idea that fundoshi loincloths were brought in from the south is based on the fact that some items that resemble in shape to a rokushaku fundoshi loincloth (a long loincloth of about 2.4 meter length) were found in Southeast Asia, Polynesia and South America.
Japanese: 南方伝来説の根拠は、東南アジア、ポリネシアや南アメリカ地区で六尺褌とほぼ同形状のものがあることから言われる説である。
English: On the otherhand, another idea that fundoshi loincloths were introduced from the Continent claims that there existed in the Chinese Continent a special fundoshi loincloth called "tokubi-kon" with which men's privates appeared like the nose of a cow.
Japanese: 一方、大陸伝来説は、中国大陸に「特鼻褌」（とくびこん）と呼ばれる、男性の局部が牛の鼻のように見える褌が日本に伝来したとの説がある。
English: It is partly claimed that roku-shaku fundoshi (a long rectangular loincloth of about 2.4 meter length) is now largely worn on the festive occasions in Japan because the roku-shaku fundoshi imported from the south had been incorporated into the basic culture of Japan, and then the Continental culture began fusing into the Japanese culture, while fundoshi itself became simplified through the ages to the present form of Etchu fundoshi (a simple rectangular loincloth with strings).
Japanese: 日本の祭事に六尺褌が多いのは、南方伝来の六尺褌が根底文化にあり、大陸文化との折衷が始まり、時代を経て簡略化された越中褌が生まれたとの説が一部で唱えられている。
English: The word "fundoshi" is commonly believed to have come from "fumitoshi" (meaning "to outthrust both legs"), or from "fumodashi" (meaning "a rope to tie down a horse or a dog"), or from "hodasu" (meaning "to tie down something by a rope so that it will not move freely").
Japanese: 「踏通（ふみとおし）」「踏絆（ふもだし）、馬や犬を繋ぎ止める綱」「絆す（ほだす）、動かないよう縄等で繋ぎ止める」から由来するという説が一般的である。
English: Another conception suggests that the word "fundoshi" originates from "Hun-t-os" (pronounced as "funtos") that is a Koreanized word of Chinese "kon-i" (literally, "fundoshi wear"), as Japanese language had primitively no word including a pronunciation of "n."
Japanese: 元来日本語には「ん」という発音の言葉がなかったことから、漢語の「褌衣」を韓国語化した「Hun-t-os,（フントス）」からくるという説もある。
English: This ancient language "tafusagi" is also conceived to have originated in various archaisms such as "mata-fusagi" (meaning "crotch covering"), "tafusage" (meaning "draping cloth"), "tabu-saki" (meaning "torn cloth made of a bark") and so on.
Japanese: これの由来についても「股塞ぎ（またふさぎ）」「布下げ（たふさげ）」「タブ（樹皮布）裂き」など諸説ある。
English: "Tepa" in the Ainu language seems to have shared the same origin with the ancient Japanese word "tafusagi."
Japanese: アイヌ語で「テパ」(tepa)と呼ぶのも同じ語源からくるのではないかと思われる。
English: "Hekoobi" (meaning "an undress belt") in Kyushu dialect is a word derived from "henoko" (meaning "penis").
Japanese: 九州の方言で「兵児帯」（へこおび）と呼ぶのは「へのこ」（陰茎の意）からくる。
English: Coarse mesh cloth is used for underwear more so than fine mesh cloth, because the former gives a softer feeling while the latter gives a rather rigid feeling.
Japanese: 着装感は生地の目が粗いものが柔らかく、生地が細かいものは硬めの感触となり、下着には目の粗い生地が用いられている方が多い。
English: There are many kinds of fundoshi loincloth, such as roku-shaku fundoshi, Etchu fundoshi, mokko fundoshi (a basket-like stringed loincloth), wari fundoshi (a rectangular loincloth partly split for tying), kuroneko fundoshi (a kind of jockstrap) and so on, each of which differs considerably in shape and in the way of tying.
Japanese: 褌の種類は六尺褌、越中褌、畚（もっこ）褌、割褌、黒猫褌などの種類があり、締め方や形状が大きく異なる。
English: "Rokushaku fundoshi" is a kind of underwear for Japanese men, made of bleached cloth of about 180 - 300cm in length and 34 - 16cm in width.
Japanese: 六尺褌は、長さ約180cm～300cm程度、幅約34cm～16cmのさらしの布を用いた日本人男性用の下着。
English: Today, it is often worn as festival wear and swimming wear rather than underwear.
Japanese: 現在では、下着に用いられるよりも、主に祭事や水着などで使用されることが多い。
English: "Etchu fundoshi" is a kind of underwear made of a rectangular cloth of about 100cm in length and about 34cm in width with strings on both sides.
Japanese: 越中褌は、長さ100cm程度、幅34cm程度の布の端に紐をつけた下着。
English: In some quarters, it is called "Etchu fundoshi classic pants" or "samurai pants," both in wasei-eigo (English words coined in Japan).
Japanese: 一部では和製英語の越中褌クラシックパンツ、サムライパンツとも呼ばれている。
English: In addition, it is used in some hadaka-matsuri (a Japanese festival in which the men go naked except for fundoshi loincloth) instead of roku-shaku fundoshi.
Japanese: その他、一部の裸祭りでは六尺褌に代って、こちらが使われる場合がある。
English: This fundoshi resembles mokko (a straw basket) for carrying earth at a site of civil works, after which it is said to have been named.
Japanese: 土木工事等で土を運ぶ畚に形状が似ているためこの名がついたといわれる。
English: It is made of a cloth that is 150cm - 160cm in length and 30cm - 40cm in width, a part of which is cut into two from the end of the cloth upto 55cm - 60cm in the lengthwise direction.
Japanese: 長さ150～160cm幅30～40cm程度の布を使用し、片一方の布端を約55～60cm程真中から切ってある褌。
English: Though it is unknown from where and when the name "kuroneko" (literally, "a black cat") came to be used, it seems to have originated from the black color of the material fabric.
Japanese: 名称の由来や出現は不明であるが、「黒猫」の名称は生地の黒色に由来している。
English: Since swimming practice was widely encouraged as anuniversal movement throughout the nation and swimming lessons were included in the official curriculum of primary schools, this kuroneko fundoshi loincloth became popular across the country as swimming pants for children covering from infants to students of elementary schools and it could be found here and there in Japan until around 1955.
Japanese: 国民皆泳が叫ばれ水泳が学校の教科として取り上げられたことで、幼児～小学生用の水着として全国に普及し、昭和30年代頃まで各地で散見されていた。
English: "Mawashi" is a particular kind of fundoshi loincloth typically used for sumo wrestling, a Japanese national sport, and for some hadaka-matsuri (a naked festival in which men go naked except for fundoshi loincloth) as well as for honozumo (a ritual sumo match held at a shrine).
Japanese: 廻しは、日本の国技・相撲や一部の裸祭り、奉納相撲に使われる特殊な褌。
English: "Shimekomi" is another kind of fundoshi loincloth used as a costume for hadaka-matsuri (naked festivals) including Hakata Gion Yamagasa, a summer festival held in July every year at Hakata Ward, Fukuoka City.
Japanese: 福岡市博多区で毎年7月に行われる博多祇園山笠や、その他の裸祭りの装束として使われる褌。
English: However, the thickness of its material cloth is between those of the sarashi and mawashi loincloths, being similar to rather thin canvas or superimposed cotton fabrics for cotton dress.
Japanese: .但し、生地の厚さは晒と廻しの中間くらい、薄めの帆布や重ねた木綿の洋服地に近い。
English: In any case, the width of the loincloth on both sides of body should be kept wide (between seven and twelve centimeters) and a knot at the rear should be tied in the same way as a mawashi loincloth.
Japanese: 何れの場合も横褌の幅を広くし(7～12cm)、後の結び目を廻しと同様にする。
English: People wear it as underwear for kimono as well as a costume for the Tamaseseri festival and other naked winter festivals in Aich Prefecture and so on.
Japanese: 着物用の下着として使われる他、玉せせりや、愛知県等の真冬の裸祭りで使われる場合が多い。
English: "Kyu-shaku fundoshi" (a longer fundoshi loincloth of about 3.6 meter in length) is worn for the traditional art "Torisashi dancing" that is performed in Unzen City, Nagasaki Prefecture (former Kunimi Town, Nagasaki Prefecture).
Japanese: 長崎県雲仙市（旧・国見町(長崎県)）の伝統芸能「鳥刺し踊り」に使われる褌。
English: "Sagari" is a special fundoshi loincloth made particularly for showing purpose as a costume (crotch gear) for players of Kabuki and jidaigeki (period dramas) on stage.
Japanese: 歌舞伎や時代劇の衣装(股道具)として作られた、最初から見せることを目的に作られた特殊なふんどし。
English: A performer that plays the role of a samurai puts on an apron made of a white rectangular cloth of habutae (thick silk fabrics) or chirimen (silk crepe fabrics), and a performer that plays the role of "a stylish playboy in Edo" wears an apron made of a red rectangular cloth of habutae or chirimen, while a performer that plays the role of a common townsman wears an apron of a white bleached triangle cloth.
Japanese: 前垂れは武士役は白の方形の羽二重や縮緬、「粋な江戸の色男」役では赤の方形の羽二重や縮緬、町人役は白の三角形の晒しとなる。
English: A player of the role of a dauntless man such as aragoto (a Kabuki player featuring exaggerated gruffness of samurai etc.) and shusu-yakko (a man who is good at fighting and a favorite with women but basically faithful and serious) wears a gorgeous and massive sagari loincloth called "Date-sagari" which looks like kesho-mawashi (a sumo wrestler's ceremonial apron).
Japanese: 荒事や繻子奴、等、勇猛な男性の役では伊達下がりと呼ばれる廻し化粧廻しに似た豪華で重厚な下がりになる。
English: Depending on the players or actors, an apron of the sagari loincloth is made in double layers, at the bottom of which two lead weights (each weight of five yen coin is appropriate) are put on the right and left ends, in order to make the apron droop down neatly.
Japanese: また着用する役者、俳優によって二重に仕立てた下がりの下の部分の左右に鉛のおもりを入れて(五円玉が適当な重さ)、きれいに垂れ下がるように見せている。
English: Also, the shape of the apron is modified into that of a sash weight in order to round off the apron.
Japanese: その形も少し「丸み」ができるように「分銅状」の形にしたりsしている。
English: Thus, various ideas have been devised to make the apron of sagari loincloth hang down beautifully when a player or actor spreads his legs to squat.
Japanese: このように、股を割ったとき、いかに下がりがきれいに見えるかという様々な工夫が見られる。
English: It is now often it is worn by players of jidai-geki (dramas on the eras) and amateur Kabuki, but the result of historical research denies the credibility of their background of wearing hantako.
Japanese: 時代劇や素人歌舞伎で使われる場合が多いが、時代考証上は誤りとされる。
English: Some festivals prohibit carriers of a portable shrine to wear fundoshi loincloths and instruct them to wear hantako trunks.
Japanese: 祭りによっては、御輿の担ぎ手に褌を禁止し、半タコ着用を指示する場合もある。
English: In some regions in Japan, people celebrate a private festival called "fundoshi iwai" that is a rite of passage, where persons who reached a certain age would wear fundoshi loincloth for the first time as proof of attaining adulthood.
Japanese: 日本の一部の地方では、通過儀礼として、一定年齢に達すると、成人を迎えた証として初めて褌を締める「褌祝」と言われる私的祭事がある。
English: On a Kabuki stage, a player who kilts hems of kimono to make a proud gesture is presenting himself as an adult by showing his pubic region and buttocks covered by a fundoshi loincloth.
Japanese: 歌舞伎の演技の中で、着物の裾をはしょり、見得を切る場面などは、陰部や臀部を見せて褌を締めていることを表すことで、自分は成人した者であるとの証を象徴したものである。
English: A fundoshi loincloth has always been regarded as adults' underwear, and no infant nor child has worn it as underwear.
Japanese: 昔から、褌は成人の下着として位置付けられており、一定年齢に満たない幼児や子供が下着として褌を使用することはなかった。
English: However, in some districts in Fukuoka Prefecture, boys wear the adult's underwear called "hekokaki" and girls wear the same underwear called "yumojikaki," when they become seven years old.
Japanese: 但し、福岡県では7歳で男児は「へこかき」、女児は「ゆもじかき」（湯文字）、と言う成人仕様の下着を初めて身につける地区がある。
English: Before World War II, boys and girls in general used to change their underwear to fundoshi loincloth when they entered adulthood, though children had already begun wearing tight-fitting draws (suteteko pants) along with the tendency toward westernizing style of dress.
Japanese: 時代が洋装化に向かったことで、子供はパッチ（ステテコ）を使用するようになったが、第二次世界大戦前までは、成人してからは褌に代えるのが一般的だった。
English: In the modern age, since the Meiji government instituted a conscription ordinance and made a universal conscription compulsory; it became widely acknowledged in the society as proof of reaching manhood to undergo an examination for conscription.
Japanese: 近代に入り、明治政府が徴兵令を制定し、国民皆兵が義務付けられ、徴兵検査を受けることが成人男子の証として社会的に認知されるようになった。
English: This examination for conscription became a pseudo "fundoshi iwai," because the government instructed the people to wear a white Etchu fundoshi loincloth at all examinations for conscription.
Japanese: この徴兵検査の際に白い越中褌の着用が指導されることで、擬似的な「褌祝」に相当するようになった。
English: Thus, it was mandatory for every Japanese adult man had to wear "fundoshi loincloth" as a rite of passage.
Japanese: こうして、当時の日本人成人男子は通過儀礼として誰もが「褌」を締めなければならない環境下に置かれた。
English: Unlike underpants, fundoshi loincloth includes no rubber, and like furoshiki (a wrapping cloth), it is made of just one sheet of simple cloth and that completes its function.
Japanese: 褌は、パンツのようにゴムを使わず、風呂敷のように、単純な一枚の布で機能が完結する。
English: This perception that the fundoshi loincloth is "gracious" is the same perception shared by the traditional Japanese of an "aesthetic sensation."
Japanese: その「潔さ」が、日本人が古来から持つ「美意識」と共通するものがある。
English: There are lots of devotees who consider that wearing the fundoshi loincloth is the way to portray the ideal image of a Japanese man who pursues essence without being influenced by the flow of times, doing away with all ostentation.
Japanese: 褌を着用することで、虚飾を排し、時流に流されることなく本質を求道する理想の日本人男子像を具現化するものとして、褌にこだわりを抱く愛好家は少なくない。
English: In the past, many became passive devotees to the fundoshi loincloth by following the recommendations given by close relatives including their fathers and grand fathers who regularly used fundoshi loincloth.
Japanese: これまでの愛好家は父親や祖父が愛用していたことで、近親者に勧められて本人も愛用するようになる受動的な例が多かった。