nntsuzu/KFTT huggingface dataset:
English: In the US, Walter HILL adapted and remade "Yojinbo" as "Last Man Standing" in 1996.
Japanese: またアメリカで『ラストマン・スタンディング』（1996年/ウォルター・ヒル監督）に翻案リメイクされた。
English: Bruce WILLIS plays as a character called John SMITH, which suggests it was a false name as Sanjuro was.
Japanese: ブルース・ウィリス演じる主人公の名前は三十郎同様偽名なのかジョン・スミス。
English: On November 15, 1998, two months after KUROSAWA's death, "Last Man Standing " was broadcast terrestrially for the first time on "Nichiyo Yoga Gekijo" (Sunday Western Film Theater) of TV Asahi.
Japanese: 黒澤が亡くなった2ヶ月後1998年11月15日テレビ朝日『日曜洋画劇場』で地上波初放送された。
English: However, in the movie the hero and heroine watch "Yojinbo" in a cinema, and a scene from "Yojinbo" is directly employed in the movie.
Japanese: 主人公達が映画館で見るのが『用心棒』であり1シーンがそのまま使われている。
English: The title of the movie, "The Bodyguard" was also the English title for "Yojinbo" when it was released in the US.
Japanese: また『ボディガード』の題名自体がアメリカ公開時の『用心棒』の英語タイトルである。
English: Homage to KUROSAWA films including "Yojinbo" can be seen throughout this film.
Japanese: この作品内では『用心棒』を含む黒澤映画へのオマージュが多々見られる。
English: A Kado-ka is sometimes called "flower artist,""Ikebana-sakka," "Soka-ka,"or"Hana-shi."
Japanese: フラワーアーティスト、いけばな作家、挿花家、花師、等とも呼ばれることがある。
English: Kabuki-mono is the name given to people who gave rise to a particular social trend between the end of the Sengoku period (Period of Warring States) and the early Edo period.
Japanese: かぶき者は、戦国時代(日本)末期から江戸時代初期にかけての社会風潮。
English: Their style was particularly in fashion from the Keicho era to the Kanei era (1596-1643) in urban areas including Edo and Kyoto.
Japanese: 特に慶長から寛永年間（1596～1643）にかけて、江戸や京都などの都市部で流行した。
English: They liked unusual things, dressed loudly, and behaved outlandishly.
Japanese: 異風を好み、派手な身なりをして、常識を逸脱した行動に走る者たちのこと。
English: However, kabuki-mono, ignoring prevailing social trends, preferred very bold outfits, such as colorful kimonos for females worn like a cape, or a hakama (a kind of trousers, worn on a kimono) patched with animal skins.
Japanese: しかしかぶき者は色鮮やかな女物の着物をマントのように羽織ったり、袴に動物皮をつぎはうなど常識を無視して非常に派手な服装を好んだ。
English: Additionally, unusual and bizarre items and styles were in fashion called "Kabuki-taru-sama"(an eccentric look) such as velvet collars, tategami hairdos (long hair with the center part left unshaved), big beards, obitai hairdos (widely shaved forehead with a little hair left on the temples), binkiri hairdos (hairdo with a lock of hair running down from the temples), chasen hairdos (a hairdo modeled after a tea whisk), large swords, and oversized short swords, red colored sheaths, big sword guards, and big pipes.
Japanese: 他にも天鵞絨(ビロード)の襟や立髪や大髭、大額、鬢きり、茶筅髪、大きな刀や脇差、朱鞘、大鍔、大煙管などの異形・異様な風体が「かぶきたるさま」として流行した。
English: Kabuki-mono often ganged up to bilk or to rob money and valuables of people by picking fights.
Japanese: 多くは徒党を組んで行動し、飲食代を踏み倒したり因縁をふっかけて金品を奪うなどの乱暴・狼藉をしばしば働いた。
English: Also, they often boasted about their bravery, and this sometimes caused fights or bloodshed.
Japanese: 自分の武勇を公言することも多く、それが元で喧嘩や刃傷沙汰になることもあった。
English: Their outfits and behavior can be seen as an expression of their spirit of repulsion and revolt against the prevailing social norm, authorities, and public order generally in society.
Japanese: かぶき者のこうした身なりや行動は、世間の常識や権力・秩序への反発・反骨の精神の表れと見てよいだろう。
English: Also, they valued the trust and camaraderie that developed among them, and had their own set of beliefs which they prized even more than their own lives.
Japanese: 彼らはまた、仲間同士の結束と信義を重んじ、命を惜しまない気概と生き方の美学を持っていた。
English: For example, it is said that the leader of Kabuki-mono, Ichibei OTORI (大鳥居いつ兵衛: His name is also spelled "大鳥一兵衛," "大鳥逸兵衛"and "大鳥逸平"), who was captured and beheaded in 1612, refused to divulge the names of the members of his group to the end, instead writing down the names of national feudal lords, even though he was brutally tortured.
Japanese: 1612年(慶長17年)に捕縛・斬首されたかぶき者の巨魁大鳥居いつ兵衛（大鳥一兵衛、同逸兵衛、逸平などとも書く）は、厳しい拷問を受けながらも仲間の名は最後まで吐かず、代わりに全国の大名の名を書き出してみせたという。
English: He also inscribed the phrase 'I have lived too long to be twenty five - Ichibei' on the part of the sword which is buried in the hilt to show his fearless of death.
Japanese: 彼はまた、刀のなかごに「廿五まで　生き過ぎたりや　一兵衛」と死を恐れぬ心意気を刻んでいた。
English: They were not samurais but servants of the samurais, performing odd jobs such as carrying their masters' lances, and taking care of their masters' shoes.
Japanese: 彼らは武士身分ではなく、武家に雇われて、槍持ち、草履取りなどの雑用をこなす者たちである。
English: Many of them enjoyed their life of freedom and violence, working as an ashigaru (common foot soldier) or a ninsoku (laborer) in times of war, and robbing people of their money and valuables whenever they had opportunities to do so.
Japanese: 彼らの多くは合戦の際には足軽や人足として働きつつ、機をみて略奪行為に励み、自由で暴力的な生活を謳歌していた。
English: It is believed that it was the feeling of despair created by the change of circumstances experienced during this period that drove the Kubuki-mono to live in such an antisocial and ephemeral way.
Japanese: そうした時代の移り変わりがもたらす閉塞感が、彼らを反社会的で刹那的な生き方に駆り立てたという側面もあると思われる。
English: On one hand, Kabuki-mono were hated as violent outlaws committing assaults, but on the other hand, they were praised and sympathized with their lifestyle as chivalrous men.
Japanese: かぶき者たちは、一方で乱暴・狼藉を働く無法者として嫌われつつ、一方ではその男伊達な生き方が共感と賞賛を得てもいた。
English: Sometimes not only servants of samurai families but also merchants, craftsmen, hatamoto(direct retainers of a feudal government headed by a shogun), and gokenin (an immediate vassal of the shogunate), who are in the proper samurai class, became Kabuki-mono.
Japanese: 武家奉公人だけでなく、町人や、れっきとした武士である旗本や御家人がかぶき者になることもあった。
English: Groups of ruffians called hatamoto-yakko and machi-yakko, appearing in the city of Edo from around the Kanei era, were supposedly types of Kabuki-mono.
Japanese: 寛永期頃から江戸に現れる旗本奴・町奴といった無頼集団も、かぶき者の一類型と見られる。
English: Also, in 1603, IZUMO no Okuni created a kabuki dance which introduced kabuki-mono manners and customs.
Japanese: また、1603年（慶長8年）に出雲阿国(いづものおくに)がかぶき者の風俗を取り入れたかぶき踊りを創める。
English: Although the kabuki-mono culture was at its peak in the Keicho era, the Edo bakufu and each domain strengthened their crackdowns at the same time, and then Kabuki-mono finally disappeared.
Japanese: かぶき者の文化は慶長期にその最盛期をみるも、同時にその頃から幕府や諸藩の取り締まりが厳しくなっていき、やがて姿を消していく。
English: However, their form of behavior was inherited by delinquents called "kyokaku," while their aesthetic values were inherited by the Kabuki performance.
Japanese: しかし、その行動様式は侠客と呼ばれた無頼漢たちに、その美意識は歌舞伎という芸能の中に受け継がれていく。
English: Suiba was an annual event in the Edo period held by Edo bakufu (a Japanese feudal government headed by a shogun) in which people rode horses across water.
Japanese: 水馬（すいば）は、ウマに乗って水を渡る、江戸時代、江戸幕府の年中行事のひとつ。
English: Suiba was held around June or July at the Sumida-gawa river with the participation of several dozens of samurai; namely, the shoinban (castle guard), the okoshoban (official guard in the Tokugawa Shogunate), the oban (a group of guards in the Edo shogunate), samurai working at one of four stables (in Tsurumi, Magaki, Suwabe or Urabe), and samurai working for one of the three families related to the shogun (the Tayasu, the Hitotsubashi or the Shimizu).
Japanese: 6、7月ころ、書院番、御小姓番、大番、ならびに鶴見、曲木、諏訪部、浦部4箇所の厩付の諸士および田安、一橋、清水の三卿付の諸士らが、数名ないし十数名出動し、隅田川すじでおこなわれた。
English: The horse riders wore a white, dark blue or light yellow mizu-hanten (a kind of short coat for a in-water use), made of weathered hemp cloth with Kamon (family crest) dyed on it, sewn with taihaku ito (a thick white silk thread).
Japanese: 騎者は晒麻布を太白糸で縫ってつくった白、紺、浅黄などの、家紋を染め出した水半纏を着用した。
English: When the water got too deep for the horse to touch the bottom of the river, the rider moved back until he was sitting on the horse's buttocks and drove the horse forward using reins attached to rings on the hemp cloth.
Japanese: その足のたたないところにくると臀後にしりぞき、腹帯の輪にとりそえた手綱を操ってうちわたした。
English: Experienced riders wore a short mizu-bakama (a pair of trousers worn over a kimono in water) and a mizu-hanten, and they also put a mizu-kura (a saddle used in water) and mizu-yoroi (armor used in water) on their horse.
Japanese: 熟練の騎者は水半纏のうえに短い水袴を着て、ウマにも水鞍と水鎧をつけた。
English: When the water got too deep for the horse to touch the bottom of the river, the rider dismounted from the horse at its neck, helped it with going forward holding the bit, and then the rider moved behind the horse to drive it on.
Japanese: ウマの足のたたないところにくると平首に沿って下り、轡をとりたすけてすすみ、臀後にしりぞいてうちわたした。
English: Suiba was adopted as a drill of the cavalry department of the Imperial Japanese Army and became an important in-water exercise.
Japanese: 旧日本軍の騎兵科の教練にも水馬がおこなわれ、水中騎兵練習として重視されていた。
English: Kasei Culture was townsman culture that developed in the late Edo period, mainly between 1804 and 1829.
Japanese: 化政文化（かせいぶんか）とは、文化(元号)・文政期（1804年～1829年）を中心とする江戸時代後期に発展した町人文化である。
English: In literature, funny stories that comically described ordinary people's life, such as "Tokai dochu hizakurige" (Travels on Foot on the Tokai-do Road) written by Ikku JIPPENSHA were preferred.
Japanese: また、文学では、十返舎一九の『東海道中膝栗毛』のように、庶民生活を面白おかしく描いた、滑稽な作り話が好まれた。
English: Kasei culture arose in Edo (old Tokyo) and spread to various places along with the nationwide communications among merchants and dissemination of publishing and education.
Japanese: 江戸から発生し、商人などの全国的交流や、出版・教育の普及によって各地に伝えられていった。
English: While Genroku culture flourished in the early Edo period, the cultural center was in Kamigata (Kyoto and Osaka area).
Japanese: 江戸時代前期に栄えた町人文化である元禄文化のときには、文化の中心は上方であった。
English: However, like Kyoto style music or Kyo-yaki as Kyoto style ceramic arts, some were highly developed in Kamigata.
Japanese: ただし、音楽における京流手事物や陶芸の京焼のように、上方で著しく発展を見たものもある。
English: He entered into priesthood in despair of the world as his seven-year-old son went missing, and is on a pilgrimage of various provinces.
Japanese: 彼は七歳になったわが子が失踪したことに世をはかなみ出家し、諸国を巡っている。
English: During his visit at Kiyomizu-dera Temple he asks a temple employee if there is anything worth seeing in the neighborhood, and is told that there is a boy (Kagetsu) in front of the gate who performs interesting music and dances.
Japanese: 清水寺に参詣した際近所に面白いものはないかと寺男にきくと、門前に面白い遊芸をする少年（花月）がいるとのことである。
English: Nanori (announcement of one's name) of Kagetsu - He claims that he is a distinguished priest of Japan by playing on words from his name (Kagetsu uses the characters 花 [ka - flower] and 月 [getsu - moon]) using various things (such as flower, gourd, confectionery, fire and fruit, all pronounced 'ka').
Japanese: 花月の名乗り-自分の名前にある「花」と「月」を様々なもの（花、瓜、菓、火、果）にかけ、我こそは天下の名僧だという。
English: As a result of a rapid Europeanization in the early Meiji period, conventional artworks were depreciated, and artists also lived in poverty because of lost demand.
Japanese: 明治初期の急激な欧化の結果、従来の美術作品は価値を落とし作家も需要を失って窮乏していた。
English: In such a situation the "Ryuchikai" came into existence in 1878 in order to preserve and promote art.
Japanese: このような状況で明治11年（1878年）に発足したのが、美術の保存・振興を目的とした「龍池会」であった。
English: However, Fenollosa, who was the brain of the Ryuchikai, began to aim for the creation of new Japanese paintings in combination of Japanese and Western-styles by the help of Hogai KANO, which brought clashes inside of the Ryuchikai.
Japanese: しかし龍池会の重要なブレーンであったフェノロサは、狩野芳崖を通じて和洋折衷の新しい日本画の創出を目指すようになり、龍池会の内部での対立を生み出した。
English: As a result, the Monbusho (Ministry of Education) group including Ryuichi KUKI, Tenshin OKAKURA, and Yusaku IMAIZUMI broke away from the association and inaugurated the "Kangakai" in 1884.
Japanese: この結果、同17年（1884年）に九鬼隆一や岡倉天心、今泉雄作ら文部省組が離反して新たに発足させたのが「鑑画会」である。
English: Its main activities were antique artwork appraisal by FENOLLOSA, holding exhibitions of contemporary works, and particularly encouraging artists to produce works free of restrictions of conventional schools of painting, and among the painters Hogai KANO and Gaho HASHIMOTO were highly evaluated.
Japanese: その主な活動はフェノロサによる古美術の鑑定や同時代作品の展覧会であったが、特に従来の画派の制約に縛られない制作を奨励し、その中で評価を高めたのが狩野芳崖と橋本雅邦であった。
English: The movement led to the establishment of Tokyo School of Art in 1989 and as a result, the Kangakai disappeared on its own.
Japanese: その運動のは同22年（1989年）の東京美術学校の設立へと結実し、その結果として鑑画会は自然消滅した。
English: Around the mid-18th century, senior courtesans were addressed as "oiran" by their underlings such as kamuro or shinzo.
Japanese: 18世紀中頃、吉原の禿（かむろ）や新造などの妹分が姉女郎を「おいらん」と呼んだ。
English: There are several different stories about the origins of the word "oiran", such as that it came from the underlings saying "Oira no tokoro no nesan"(a big sister in our place).
Japanese: 「おいらん」の語源については、妹分たちが「おいらの所の姉さん」と呼んだことから来ているなどの諸説がある。
English: In its early days, there were tayu in Yoshiwara too, but they disappeared around the time the name "oiran" started appearing.
Japanese: また、吉原にも当初は太夫がいたが、「おいらん」という呼称の登場と前後していなくなった。
English: Beneath the rank of tayu were several lower rank courtesans as follows: 67 koshi, 365 tsubone, 669 sancha, and 1004 jijoro.
Japanese: またその下位の遊女として格子67人、局365人、散茶669人、次女郎1004人がいた。
English: According to the "Yoshiwara Saiken" published in 1775, in the late Edo period, the total number of courtesans was 2021 including 50 sancha (including 8 yobidashi), 357 zashiki-mochi (including 5 yobidashi), and 534 heya-mochi (courtesans who had their own private residential room).
Japanese: 江戸時代後期の安永4年（1775）になると、吉原細見には散茶50人（内、呼出し8人）、座敷持357人（内、呼出し5人）、部屋持534人など（総計2021人）となっている。
English: A oiran who had been summoned moved back and forth between a "yujoya" (a courtesan's residence) and an "ageya" (a house of assignation) or a hikitejaya with her entourage of kamuro or furisode shinzo.
Japanese: 呼び出された花魁は禿や振袖新造を従えて遊女屋と揚屋・引手茶屋の間を行き来する。
English: Since oiran were expected to be cultured women, kamuro (young girls that were candidates to become oiran) were given a comprehensive education in culture and arts such as classical literature, calligraphy, the tea ceremony, Japanese poetry, the Japanese harp, the shamisen (a stringed instrument), and igo (a Japanese board game like chess).
Japanese: 花魁には教養も必要とされ、花魁候補の女性は幼少の頃から禿として徹底的に古典や書道、茶道、和歌、箏、三味線、囲碁などの教養、芸事を仕込まれていた。
English: It was extraordinarily expensive to spend time with an oiran, and ordinary people could not afford it.
Japanese: 花魁を揚げるには莫大な資金が必要であり、一般庶民には手が出せないものであった。
English: Oiran also needed a huge amount of money so that they and their protégée, kamuro and shinzo, could properly attend the banquet or party they were called to.
Japanese: 花魁の側も禿や新造を従え、自分の座敷を維持するために多額の費用を要した。
English: Popular oiran were featured in literature such as "Yujo Hyobanki" or drawn in ukiyo-e (Japanese wood-block paintings).
Japanese: 人気の花魁は「遊女評判記」などの文学作品に採り上げられたり、浮世絵に描かれることもあった。
English: Oiran in ukiyo-e paintings are depicted very glamorously, wearing so many hair picks that in reality it would be impossible to put them in the hair.
Japanese: 浮世絵に描かれている花魁は、実際には付けるのが不可能なくらい多くのかんざしを付けて、とても豪華な姿で描かれている。
English: Sancha joro: originally lower than tayu and koshi, but due to the disappearance of tayu and koshi, the words "sancha joro" later referred to a high class courtesan.
Japanese: 散茶女郎：元々は太夫・格子より下位の遊女であったが、後に太夫・格子がいなくなったため高級遊女を指す言葉になった。
English: Yobidashi: these are sancha and zashiki-mochi who didn't wait for customers in a pleasure house but rather entertained them in a tea house with their entourage of kamuro or shinzo.
Japanese: 呼出し：散茶・座敷持のうち、張り店を行わず、禿・新造を従えて茶屋で客を迎える遊女。
English: The top courtesan in a pleasure house was sometimes called "oshoku," but it is said that the word was used in komise, not in nakamise and omise.
Japanese: なお、店の筆頭である遊女を「お職」と呼ぶことがあるが、本来は小見世で呼んだ言葉で、大見世・中見世では使わなかったという。
English: Unlike spending the night with a lower ranked courtesan, to be with an oiran required a lot of customs and conventions.
Japanese: 下位の遊女と一夜を共にするのとは異なり、花魁を揚げるには様々なしきたりが存在していた。
English: The first time that an oiran met a customer (called "shokai"), the oiran sat apart from her customer, not speaking to him, and not eating or drinking anything.
Japanese: 初会（つまり一回目）、花魁は客とは離れたところに座り、客と口を利かず飲食もしなかった。
English: If considered to be unsuitable for the oiran, he couldn't court her anymore.
Japanese: 花魁にふさわしくないと思われたらその花魁とは付き合うことができなかった。
English: The second meeting (called "ura") was basically the same as the first except the oiran sit slightly closer to the customer.
Japanese: 裏（つまり二回目）には、少し近くに寄ってくれるものの、基本的には初会と同じである。
English: At the third meeting, the customer was recognized as a regular (called "najimi") and served using a tray and chopsticks with his name on.
Japanese: 三回目にようやく馴染みになり、自分の名前の入った膳と箸が用意される。
English: However, some people think that the existence of these conventions, from the first to the third meetings, is questionable.
Japanese: (なお、この初会から三会目のしきたりは、存在を疑問視する意見もある)
English: When one oiran noticed that her customer went to another oiran, she caught the customer near the Yoshiwara O-mon Gate and complained to a tea house.
Japanese: 他の花魁に通ったことがわかると、花魁は客を吉原大門のあたりで捕らえ、茶屋に苦情を言った。
English: As an oiran had quite a few regular customers, sometimes calls for an oiran clashed.
Japanese: 花魁には馴染みの客が何人もいるため、時には指名がかち合うこともある。
English: Girls not pretty enough to be courtesans, or courtesans who had finished their serving years, became banto shinzo and played a manager-like role.
Japanese: 器量が悪く遊女として売り出せない者や、年季を勤め上げた遊女が務め、マネージャー的な役割を担った。
English: "Shinzo" used to refer to the wife of a samurai or a merchant, but later it was also used to refer to any unmarried woman.
Japanese: 「新造」とは武家や町人の妻を指す言葉であったが、後に未婚の女性も指すようになった。
English: Courtesans in the pleasure quarter were brought from all over the country and they used a special language (such as "-arinsu" used at the end of a sentence) to mask their original accent.
Japanese: 遊女達は全国から集められており、訛りを隠すために「～ありんす」など独特の言葉を使っていた。
English: Therefore, oiran walked in certain special ways such as the ones called "letter of 八 (eight) outwards "in Yoshiwara or "letter of 八 (eight) inward" in Shimabara.
Japanese: そのため、吉原の「外八文字」、嶋原の「内八文字」などと呼ばれる独特の歩き方をした。
English: Datehyogo is made by swelling a bun of "takashimada" (a kind of chignon) widely to both sides and then putting six hair picks shaped like a pine or a Japanese harp, two picks with a big coral ball, and three tortoise combs in the bun.
Japanese: 高島田の髷を大きく左右に張り、そこにマツや箏をあしらった簪を左右に計六本、サンゴ大玉の簪を二本、鼈甲の櫛を三枚挿したもの。
English: Datehyogo can be seen in the hairdo of courtesans in some kabuki plays such as Miuraya Agemaki in "Sukeroku" or Akoya in "Dannoura kabuto gunki" (The War Chronicles at Dannoura).
Japanese: 歌舞伎『助六』の三浦屋揚巻や『壇浦兜軍記』の阿古屋に見ることができる。
English: Miuke means that a customer of a courtesan (not only an oiran) pays off her debts, or pays money to redeem her so that she no longer needs to work as a courtesan.
Japanese: 花魁に限らないが、客が遊女の身代金や借金を支払って勤めを終えさせること。
English: This is a relatively new style of Noh aimed at dramatic composition, with the active involvement of the waki (supporting actor).
Japanese: ワキの積極的な関与が見られるなど、劇的構成を目指した比較的新しいスタイルの能である。
English: After a travel-dance scene at the hashigakari (bridge-form passageway to the main stage), Koreshige discovers the joyous banquet and tells an attendant to find out what is happening.
Japanese: 橋懸リでの道行きの後、楽しげな宴会が開かれているのを発見した維茂は、供の者に様子を見てこさせる。
English: Koreshige gets off his horse and tries to walk past, but the shite appears and tempts him by asking him to join them and enjoy the autumn leaves and sake (wine) together.
Japanese: そこで維茂は馬を降り通り過ぎようとするが、シテが現れ、どうかお出でになって、一緒に紅葉と酒を楽しみましょうと誘惑する。
English: Unable to reject the offer, Koreshige participates the banquet, however he carelessly overcome by the power of sake and dances of the beautiful women.
Japanese: 無下に断ることもできず宴に参加した維茂であったが、美女の舞と酒のために不覚にも前後を忘れてしまう。
English: The beautiful Naka no mai (dance) performed by the shite suddenly becomes a violent Kyu no mai (high-tempo dance) and shows the true nature of the beautiful women, but Koreshige remains asleep.
Japanese: シテの舞う美しい中ノ舞は突如激し急ノ舞となり、美女の本性を覗かせるが、維茂は眠ったままである。
English: The god of Hachiman-gu Shrine, an ai, appears in Koreshige's dream and tells him to slay the oni taking the form of beautiful women, granting him the Divine Sword.
Japanese: アイによる八幡宮の神が現れ維茂の夢中に、美女に化けた鬼を討ち果たすべしと告げ、神剣を授ける。
English: He clashes swords with the nochi-shite (leading role of the latter half) (wearing either a shikami [angry demon] or hannya [female demon] Noh mask) who appears with a storm breathing fire, and after a fierce battle finally succeeds in slaying the oni.
Japanese: 嵐と共に炎を吐きつつ現れた後シテ（能面は顰または般若の面）と丁々発止、激しい攻防の末ついに鬼を切り伏せることに成功する。
English: In many cases, oni in Noh plays are products of female obsessions (for example, Kanawa [Iron Wheel], Aoi no Ue [Lady Aoi] and Dojo-ji Temple [all Noh plays]).
Japanese: 多くの場合、能の鬼は女の妄念から生ずる（例えば鐡輪(能)、葵上、道成寺(能)）。
English: However in this Noh piece, the oni are the true forms and the beautiful women their assumed forms (Kurotsuka (Noh play) may also be interpreted likewise).
Japanese: しかし本作では鬼が本体であって、仮に美女の姿をとっている（黒塚(能)もそのように解釈することが可能である）。
English: For this point, the story is related to the legend of Kijo (an ogress) set in Kinasa-mura Village at Mt. Togakushi, suggesting that the latter was influenced by the Noh piece.
Japanese: この点、戸隠山、鬼無里村の鬼女伝説と内容的に関連しており、後者が能の影響を受けている可能性がある。
English: Later, based on this piece, Monzaemon CHIKAMATSU composed a Kabuki Jidaimono (Historical drama in traditional style performed by male actors) (Momijigaritsumugi no Honchi [land of origin for Maple Viewing sword], 1714) and Daniuro ICHIKAWA the ninth composed a Kabuki Buyo (Kabuki Dance) (Momijigari, 1887).
Japanese: 後に本作をもとに近松門左衛門によって歌舞伎の時代物（作品名　色狩剣本地：もみじがりつるぎのほんち　正徳(日本)4年）、市川團十郎(9代目)による歌舞伎舞踊（作品名　紅葉狩　明治20年）が作られている。
English: "Dojo-ji Temple" is a Nogaku piece that is based on the Legend of Anchin and Kiyohime which has been passed down in Dojo-ji Temple, Kishu Province (present day Wakayama Prefecture).
Japanese: 『道成寺』(どうじょうじ)は、紀州道成寺に伝わる、安珍・清姫伝説に取材した能楽作品。
English: It is said that the piece is a shortened version of "Kanemaki" (Coiling around a bell) thought to be composed by Kojiro Nobumitsu KANZE, reconstructed mainly with Ranbyoshi (mad rhythm).
Japanese: 観世小次郎信光作といわれる『鐘巻』を切り詰め、乱拍子を中心に再構成したものという。
English: Later, the Kabuki (traditional drama performed by male actors) "Kyo Kanokomusume Dojoji" (The Maiden at Dojo Temple), the Joruri (dramatic narrative chanted to a shamisen accompaniment) "Dojo-ji Temple" and the Kumiodori (combination dance) "Syushin Kaneire" were composed based on Dojo-ji Temple (Noh).
Japanese: 後にこの能の『道成寺』を元にして歌舞伎の『京鹿子娘道成寺」や浄瑠璃の『道成寺』、組踊の『執心鐘入』などが作られた。
English: According to gojitsu monogatari (stories written later) of the Legend of Anchin and Kiyohime, Shirabyoshi visits Dojo-ji Temple in Kishu Province for its kane kuyo (memorial ceremony of temple bells).
Japanese: 安珍・清姫伝説の後日譚に従い、白拍子が紀州道成寺の鐘供養の場に訪れる。
English: Although this ceremony prohibited women, Shirabyoshi sings and dances, and seizes the opportunity to jump into the bonsho (large temple bell)..
Japanese: 女人禁制の供養の場であったが、白拍子は舞を舞い歌を歌い、隙をみて梵鐘の中に飛び込む。
English: Then the bell falls with a loud crash, and when the bell is lifted by prayer Shirabyoshi appears in the form of a snake.
Japanese: すると鐘は音を立てて落ち、祈祷によって持ち上がった鐘の中から現れたのは白拍子が蛇体に変化した姿であった。
English: The snake breathes fire and thrashes violently, overcome with rage at being deserted by a man, but unable to stand the prayers of the priests, jumps into a river and disappears.
Japanese: ヘビは男に捨てられた怒りに火を吹き暴れるが、僧侶の必死の祈りに堪えず川に飛び込んで消える。
English: This Noh pieces contains many interesting essences, including the dynamic change from the ranbyoshi (dancer takes measured steps in triangular formation to match the beat of the kotsuzumi [shoulder drum] – the lengthy pauses have caused radio broadcasting incidents, due to the maximum time of silence allowed being exceeded) which is a contest of nerves with the kotsuzumi to the kyu no mai (high-tempo dance), the superb timing for the koken (stagehands) to drop the bell after the shite jumps into it, and the shite changing costume inside the bell unassisted to appear as the nochi-jite (lead role of latter half).
Japanese: 小鼓との神経戦である乱拍子（間をはかりながら小鼓に合わせ一歩ずつ三角に回る；大きな間をとるので、ラジオ放送では放送事故-無音時間過長-になったこともある）から一転急ノ舞になる迫力、シテが鐘の中に飛び込むや鐘後見が鐘を落とすタイミング、鐘の中で単身装束を替え後ジテの姿となる変わり身と興趣が尽きない能である。
English: A mechanical clock was first brought to Japan in 1551 when Francis XAVIER presented it to Yoshitaka OUCHI.
Japanese: 日本に初めて器械時計が持ち込まれたのは1551年（天文20年）フランシスコ・ザビエルが大内義隆に献上したのが最初とされている。
English: In 1605, TSUDA Sukezaemon Masayuki presented a jimesho (self ringing bell) to Ieyasu TOKUGAWA.
Japanese: 1605年（慶長10年）津田助左衛門政之が、徳川家康に自鳴鐘を献上。
English: The Tokugawa shogunate created clock engineers called "otokeishi," and the history of Japanese clocks had started since then.
Japanese: 徳川幕府により御時計師と呼ばれる時計技術者が誕生し、ここに和時計の歴史が始まる。