nntsuzu/KFTT huggingface dataset:
English: Roughly speaking, the kiseru is made up of 'gankubi' with a bowl to be filled up with shredded tobacco (the term gankubi suggests the part from the base of the bowl to the joint of rau), a mouthpiece to be put in mouth, and 'rau' - also pronounced 'rao,' a pipe connecting between the gankubi and the mouthpiece.
Japanese: 大きくわけると、刻み煙草を詰める火皿（椀形の部分）に首のついた「雁首」（火皿の付け根から羅宇と接合する部分まで）、口にくわえる部分の「吸い口」、それらをつなぐ管の「羅宇」（らう）ー（らお）とも読むーにわけられる。
English: It is generally believed that the word, "rau" originated in the fact that bamboo (patterned black bamboo) in Laos near Cambodia was used.
Japanese: また、羅宇の語源は、カンボジアに近い羅宇国（ラオ国・ラオス）の竹（黒班竹）を使用していたことによるというのが定説である。
English: There is a strong doubt that the 'kiseru' or the kiseru part was originated in Southeast Asia, and some say that it is more natural to think that the Portuguese and Spanish word, "rabo" was the origin because it means "stalk" in Portuguese and "stem" in Spanish.
Japanese: しかし、「キセル」またはキセルの部位の語源を東南アジアに求めることに疑問は多く、ポルトガル語にrabo（「柄」の意）、スペイン語にrabo（「軸」の意）があることから、こちらを語源と考えたほうがより自然であるとする論考もある。
English: The gankubi, the bowl and the mouthpiece were made out of metal for durability, and a certain kind of rao for luxury kiseru are made out of ebony, but the great majority of rao seem to be made out of bamboo.
Japanese: 雁首、火皿、吸い口については耐久性を持たせるためにその多くが金属製であり、羅宇については、高級品では黒檀なども見受けられるが、圧倒的に竹が多いようである。
English: A wide variety of metals are used for kiseru, such as gold, silver, copper, iron, tin, zinc and alloy of those metals, and some kiseru are plated with gold or marquetry-inlaid.
Japanese: 使用される金属の種類は金、銀、銅、鉄、錫、亜鉛、またはそれらの合金など多様で、鍍金や象嵌を施したものもある。
English: Furthermore, some kiseru were made out of ceramics or glass (different in shape from the current glass pipe), and there were simple kiseru made of bamboo or wood as well.
Japanese: また全体が陶製やガラス製のもの（最近のガラスパイプなどとは形状が違う）もあり、中には竹や木でできた簡易煙管もあった。
English: Remove ashes by tapping the kiseru lightly on the edge of haifuki (tobacco ash receptacle) when the tobacco burns out and smoking is stopped.
Japanese: タバコが燃え尽きて煙が出なくなったら、煙草盆の灰吹きのふちを軽く叩くなどして灰を落とす。
English: Some smokers smoke tobacco without a break by putting a lump of burning ashes on the palm to replace it with new tobacco and then lighting the kiseru with the embers on the palm before the old tobacco burns out.
Japanese: 燃え尽きる前の火のついた灰の塊を掌に載せ、それが消える前に新しいタバコを火皿に詰め、掌の燃えさしで着火し、連続して喫煙する人もいる。
English: If the entire body of the kiseru is metal, keep it submerge in warm water to clean easily because tar gets soft.
Japanese: 煙管全体が金属製の場合は、ぬるま湯に浸けおくとふやけてくるので掃除がしやすい。
English: There used to be stallholders called rau-ya that remove tar from a rau or replace an old rao with new one.
Japanese: かつては、羅宇のヤニ取りやすげ替えを生業とする露天商があって、羅宇屋と呼ばれていた。
English: They cleaned the kiseru with steam generated from a small boiler, and what was characteristic about is noise like whistle which was heard during the cleaning.
Japanese: 小型のボイラーから出る蒸気で羅宇を掃除し、その際に鳴る「ピー」という笛にも似た音が特徴的であった。
English: Although it is called kizami (shredded), it is not finely-shredded like leaves in a cigarette, but dried leaves are layered and cut thinly like a thread by a knife or a plane.
Japanese: 刻みと呼ばれているが、紙巻きタバコの中身のように細かく刻まれたものではなく、干した葉を重ねて包丁もしくはカンナで糸のように細く切ったもの。
English: It is one of the least processed tobacco products in the world and there are many enthusiasts because the original taste of tobacco can be enjoyed.
Japanese: 世界のタバコ製品の中で最も加工度が低いものの一つで、タバコ葉本来の味が楽しめるとして熱心なファンが多い。
English: Before a tobacco monopoly was implemented, private tobacco shops manufactured and sold individual shredded tobacco.
Japanese: 専売制が実施される前は個人経営のタバコ店がそれぞれの刻みタバコを製造販売していた。
English: There were thousands varieties, but the number of brands were reduced to one because of the mass production promoted under the monopoly and decrease in demand caused by increase in cigarette consumption, and finally the domestic production was stopped.
Japanese: 何千種類もあったが、専売制の下でマスプロ化が進んだことと、紙巻きタバコの消費増大で需要が減ったことで数銘柄からさらには1銘柄に減り、ついには国内での製造が打ち切られた。
English: Because of growing demand for the revival and survival of the shredded tobacco as Japanese traditional culture, however, tobacco farmers were asked to resume cultivation of domestic varieties and then only one brand ("koiki") came back as traditional quality shredded tobacco.
Japanese: しかし日本の伝統文化として復活と存続を望む声が多かったため、タバコ農家に在来種の栽培再開を依頼し、1銘柄（『こいき』）ではあるが昔ながらの良質の刻みタバコが復活した。
English: The kiseru often appears on many dramas including period dramas as an important prop, but those dramas are not true to fact at all if it appears on stories of the 16 century or earlier.
Japanese: 多くの時代劇等で煙管は重要な小道具として登場することが多いが、16世紀以前の話に登場すれば全くの嘘である。
English: Even if it appears on stories of the 16 century or later, it is also strange that commoners had good kiseru in the old days when smoking population was small.
Japanese: 16世紀以後でも喫煙人口の少ない古い時代に庶民が立派な煙管を持っているのもおかしい。
English: In addition, some samurai families and mercantile houses banned their servants from smoking to prohibit luxury and prevent fires and therefore, not all the people hung tobacco pouches.
Japanese: また武家や商家などでは、贅沢の禁止と防火の意味から使用人には喫煙を禁止することもあり、誰もが煙草入れをぶら下げていたわけではない。
English: Samurai placed a special order for desired kiseru as an expression of their aspiration as well as their status symbols.
Japanese: 武士の場合はステータスシンボルと同時に自分の志の表現として、特別に自分の好みを施した煙管を注文したりした。
English: Some samurai carried iron fans or heavy iron kiseru for self-defense because wearing swords was prohibited after the Meiji Restoration.
Japanese: 明治維新後に刀の携帯が禁止されたので、護身用にと鉄扇ないし重量のある鉄の煙管を持ち歩く武士達もいた。
English: In the Edo period, in many cases, banto (head clerk) and owners of large stores ordered their custom-made tools for a kind of fashion or a status symbol rather than liking for smoking.
Japanese: 江戸時代においては、多くの場合に大店の番頭や主人等が自分にあった道具をあつらえたりと、嗜好の世界というより一種のファッションやステータスシンボルであった。
English: There was related craft culture such as netsuke (miniature carving attached to the end of a cord hanging from a pouch), and the netsuke attracted more fans in the UK after the introduction to overseas in connection with trading in the Meiji period.
Japanese: この中では根付のような関係する工芸文化も存在し、この根付は明治時代の交易に関連して海を越え、イギリスにまで愛好者を増やした。
English: The Victoria and Albert Museum in London has an exhibition room for the netsuke collection.
Japanese: ロンドンのヴィクトリアアルバート美術館には、この根付コレクションの展示室も存在する。
English: As a practice among tayu (geisha of the highest rank) at omise (high rank brothel) in places like Yoshiwara (Tokyo) in the Edo period, when they were ranked higher, their obi (kimono sash) got wider and then red lacquer rao of their kiseru to be tucked into obi got longer according to the widened obi.
Japanese: 江戸時代の吉原_(東京都)等の大見世（上等な女郎屋）の太夫（上等の遊女）などの間では、位が上ると帯の幅が広くなり、それに合せてその帯にさす、煙管の赤塗りの羅宇も長くするしきたりがある。
English: When a geisha presents kiseru to her favorite customer, if the customer takes it, it means that he likes the geisha.
Japanese: 遊女は気に入った客に煙管を差し出し、客が受け取るとその遊女を気に入ったということになる。
English: The line of "Sukeroku", the Kabuki story, 'rain of kiseru' implies Rokusuke's manliness.
Japanese: 歌舞伎『助六』のせりふにある「煙管の雨」とは、助六の男っぷりを暗に示す。
English: In period dramas or gekiga (graphic novel) of period pieces derived from the period dramas, characters such as yakuza or samurai move tobacco in their mouths or perform gesture of hitting the kiseru on a tobacco tray.
Japanese: 時代劇およびここから派生した時代物の劇画では、登場人物のヤクザや武士等が咥えタバコを動かしたり、煙草盆に叩き付ける仕草をする。
English: Especially in yakuza movies, the kiseru is used as a prop to express boss's decision by waving the kiseru in his mouth.
Japanese: 特にヤクザ映画等では、煙管を口にくわえたまま振ったりと、親分の意思表示の小道具に使用される。
English: For example, raising up the gankubi of the kiseru in mouth emphasizes anger or discomfort expressed by biting it hard and pushing his lower lip out.
Japanese: 例えば、加えたままの煙管の雁首を上げることは、強くかみ下唇を突き出す怒りや不快感の表情を強調するなどである。
English: In addition, hitting the kiseru hard on the tobacco tray (discarding ashes) shows a shift of emotional gears such as ending a repose to move to action.
Japanese: この他にもタバコ盆に強く叩き付ける（灰を捨てる）動作で、休息を取りやめ行動に移るなど、気持ちの切り替えを表す。
English: Furthermore, as a familiar rod-like tool, a boss waves the kiseru held or put in his mouth like a stick to give directions to his subordinates.
Japanese: またこれ以外にも身近な棒状の道具として、手に持ったりくわえたりした煙管を振るなどの動作で配下に対して、指し棒のように指示を出したりした。
English: The absolute number of kiseru users for smoking is small now, but its culture has been continued for the following reasons:
Japanese: 現在は、タバコの喫煙用としての煙管使用者の絶対数は少ないが、下記の理由などでその文化は存続している。
English: Joy of tasting natural tobacco, which is the best way to smoke unflavored shredded tobacco.
Japanese: 自然なタバコの味を楽しむため（香料を使わない刻みタバコを吸う方法として最良であること）
English: Issue on tar on cigarette paper, which is said to cause cancers.
Japanese: 紙のタール問題（紙巻タバコの紙からのタールが癌の原因という説があるので）
English: There is an example of young people in the Heisei period who smoke a cigarette with it attached to the end of the kiseru.
Japanese: 平成期の青年に、煙管の先に紙巻煙草を差して、喫煙をしている例がある。
English: There is an example of fetishist's favorite use of the kiseru where they inserted it into the women's genital area and then put a fire into the bowl.
Japanese: フェティシズムの愛好例として、女性の陰部に挿して火皿に火を入れる使用例がある。
English: Kenka-kiseru refers to the kiseru used by machi-yakko (a city servant) in the Edo period.
Japanese: 喧嘩煙管（けんかきせる）とは江戸時代に町奴が主に用いていた煙管である。
English: As a weapon to rival servants of a Hatamoto samurai, they ordered iron kiseru to wear.
Japanese: そこで旗本奴に対抗するための武器として総鉄製の煙管を造らせ、これを携帯していた。
English: It was 40 to 50 cm in length and several centimeters in width, and the rao was made by shaping it into hexagon or putting bumps on it like a club.
Japanese: 長さは40–50cm、太さも数cmあり、羅宇を六角形にしたり、羅宇全体にいぼをつけるなど棍棒さながらの加工がなされている。
English: There are cases where organisms looking like the kiseru were named after it because of their unique figures.
Japanese: その特異な形態から、生物の形でそれに近いものにその名が付けられる例がある。
English: Each kiseru appearing on Kabuki and Kyogen (farce played during a No play cycle) is different in shape, such as Goemon ISHIKAWA's silver nobe-kiseru in the 'Sammon Gosan No Kiri' (The Temple Gate and the Paulownia Crest), Kuemon KEZORI's big kiseru with Netherlandish patterns in the 'Hakata Kojoro Namimakura' (voyage of geisha girl in Hakata) and amongst others.
Japanese: 「楼門五三桐」の石川五右衛門の銀の延煙管、「博多小女郎浪枕」の毛剃のオランダ模様のある大きな煙管など、歌舞伎狂言によってそれぞれ形がある。
English: Among them, Sukeroku's red lacquer rao is familiar with theatergoers, as well as his famous line, 'It is like rain of kiseru.'
Japanese: なかでも助六の朱羅宇煙管は「煙管の雨が降るようだ」の名台詞とともに好劇家にはなじみ深いものである。
English: That's how men who smoke first for appearance are phrased with 'yani sagatta' (tar is slid down).
Japanese: このことから格好優先で煙管を吸う男を「やに下がった」と表現するようになった。
English: Kusuguri (tickling) is to give 'tickling' sensation by stimulating skin surface and 'make someone laugh.'
Japanese: くすぐり（擽り）とは、人の皮膚表面を刺激して「くすぐったい」感覚を与え「笑わせる」こと。
English: The body parts that you feel tickling sensation are generally the parts where arteries are close to the skin, such as surrounding of ears, crest of neck, armpit, back of the hand, base of thigh, ham, and dorsum and sole of foot.
Japanese: くすぐったいと感じる場所は、一般に耳の周辺、首筋、脇の下、手の甲、もものつけね、膝の裏、足の甲や裏など、動脈が皮膚に近いところを通っている部位である。
English: These parts of the body are 'dangerous parts', which cause excessive bleeding in case of injury.
Japanese: こうした部分は万一怪我をすると多量の出血を伴いかねない「危険部位」である。
English: Therefore, autonomic nerves are centered around these parts of the body, so people are especially sensitive to outside stimuli.
Japanese: そのため付近には自律神経も集まって、外部からの刺激に対しては特に敏感になっている。
English: The cerebellum is closely related with the autonomic nerves and controls the prediction of the stimuli for these dangerous parts and feeling of them.
Japanese: この自律神経と密接な関係にある小脳では、こうした危険部位への刺激に対する予測と、それに対する感覚の制御を行っている。
English: Accordingly, even if you tickle these parts by yourselves, the stimuli is predictable and you don't have uncomfortable feeling because the cerebellum controls the feeling.
Japanese: したがって自分でそうした部位をくすぐってみても、その刺激は小脳の予測どおりなので、小脳が感覚を制御するため違和感が生じない。
English: However, if others tickle you, the cerebellum cannot predict it, so the feeling is not controllable and the brain will be thrown into confusion.
Japanese: ところが他人にくすぐられると小脳はこれを予測することができないので、感覚の制御は不能として脳は混乱状態に陥る。
English: The uncomfortable feeling is 'tickling' feeling, and an excessive response of autonomic nerves, which try to avoid the illusionary state of 'a potential crisis of life', causes 'laugh'.
Japanese: その不快な感覚が「くすぐったい」という感覚であり、そうした「生命にとっての危機かもしれない」と錯覚された状態から逃れようとする自律神経の過剰反応が「笑い」にあたる。
English: Thus people instinctively prevent others from touching their 'dangerous parts,' but on the contrary, allowing it would be a token of enhanced confidence or affection.
Japanese: このように「危険部位」を他人に触れさないようにするのは人の本能に拠るものだが、逆にそれをあえて許すことは厚い信頼や愛情の証となる。
English: In the traditional performing arts, performers sometimes go out of their ways to make the audience laugh by off-topic dajare (pun) and inside jokes, and that is called as 'kusuguri'.
Japanese: 伝統芸能では、演者が本筋とは直接関係がない駄洒落や内輪ネタでことさらに観客の笑いを取ることを「くすぐり」という。
English: Especially, in Kabuki and Classical Rakugo (classical comic story-telling), unimportant words in the original lines are sometimes replaced with today's related 'person of the day' or 'topic of the day', and the audience cannot help grinning at such a scene.
Japanese: 特に歌舞伎や古典落語では、本来の台詞にあるさして重要ではない語句を、関連性のある現代の「時の人」や「時の話題」に差し替えて、思わず観客をニヤリとさせる場面が時折見られる。
English: Although there is an exception like Sanpei HAYASHIYA, this kind of technique is basically not in heavy usage and is used only once per act/story, if ever.
Japanese: 林家三平のような例外もあるが、基本的に多用されることはなく、一幕・一席にあるかないかのものである。
English: Moreover, performers play this at the scene where the audience cannot expect, so kusuguri can be a technique giving an accent to the play.
Japanese: しかも通常は観客が予想もしないところでこれが出るため、くすぐりは演目に重要なアクセントを与える手法となる。
English: Shin Kabuki Juhachi Ban refers to the specialty plays of Danjuro ICHIKAWA of Naritaya selected by Danjuro ICHIKAWA the seventh and Danjuro ICHIKAWA the ninth.
Japanese: 新歌舞伎十八番（しんかぶきじゅうはちばん）は、市川團十郎(7代目)と市川團十郎(9代目)が撰した成田屋・市川團十郎のお家芸。
English: Danjuro the seventh, after selecting Kabuki Juhachi Ban, died in the middle of selecting Shin Kabuki Juhachi Ban covering roles for which he had gained a reputation, and so his fifth son, Danjuro the ninth, completed the selection around 1887.
Japanese: 歌舞伎十八番を撰した七代目團十郎は、さらに自分の当たり役を網羅した新歌舞伎十八番を撰じようとしていたが、その志半ばで死去したたため、五男の九代目團十郎が明治20年(1887)頃にこれを完成させた。
English: Danjuro the ninth maintained the name 'Shin Kabuki Juhachi Ban,' which had been given by his father, Danjuro the seventh, but the selection contained more than eighteen programs, and in the end he selected thirty-two or forty programs based on an interpretation of 'Juhachi Ban' not as '18 programs' but as 'Ohako, one's favorite stunt.'
Japanese: 九代目は、父・七代目が銘打った「新歌舞伎十八番」という名称は維持したが、その演目数は18に収まりきらず、結局「十八番」を数字の「じゅうはちばん」ではなく、むしろ得意芸の「おはこ」の意味に解釈して、32ないし40を撰じた。
English: The selection contained many programs of Katsurekimono, proposed by Danjuro the ninth himself, and many programs are seldom performed today.
Japanese: その中には九代目自身が提唱していた活歴物も多く含まれており、現代ではほとんど上演されない演目も多い。
English: Kyoka Gikyoku Jusshu refers to the eight specialty plays of Sadanji ICHIKAWA of Takashimaya (kabuki) selected by Sadanji ICHIKAWA the second.
Japanese: 杏花戯曲十種（きょうかぎきょくじっしゅ）は、市川左團次(2代目)が撰した高島屋(歌舞伎)市川左團次のお家芸8種。
English: They were originally called Shoen Gikyoku Jisshu, but later they were given the present name derived from 'Kyoka,' Sadanji the second's Haimyo (the term originally refers to a pen name as a haiku poet, but it also refers to a kabuki actor's offstage name which can be used officially and privately).
Japanese: 当初は松莚戯曲十種（しょうえんぎきょくじっしゅ）といったが、後に二代目左團次の俳名である「杏花」に拠って現行の名称になった。
English: Eno Jusshu refers to the specialty plays of Ennosuke ICHIKAWA of Omodakaya selected by Ennosuke the third in 1964.
Japanese: 猿翁十種（えんおうじっしゅ）は、昭和39年(1964年)に市川猿之助(3代目)が撰じた澤瀉屋・市川猿之助のお家芸。
English: Omodaka Jusshu refers to the specialty plays of Ennosuke ICHIKAWA of Omodakaya selected by Ennosuke the third in 1975.
Japanese: 澤瀉十種（おもだかじっしゅ）は、昭和50年(1975年)に市川猿之助(3代目)が撰した澤瀉屋・市川猿之助のお家芸。
English: It consists of dances created and first performed by Eno ICHIKAWA, grandfather of Ennosuke the third, plus those produced by Ennosuke the third himself.
Japanese: 祖父の市川猿翁が創作して初演した舞踊に、三代目自身が演出した舞踊を加えたものである。
English: Unlike the precedent 'Eno Jusshu,' these are dances created by two generations of Ennosuke, grandfather and grandson, so they are given the stage family name, Omodakaya.
Japanese: これに先立つ「猿翁十種」とは異なり、こちらは祖父・孫の二代にわたる猿之助の創作舞踊なので、屋号の澤瀉屋をこの名称に冠した。
English: Ennosuke Juhachi Ban refers to the specialty plays of Ennosuke ICHIKAWA of Omodakaya selected by Ennosuke ICHIKAWA the third in 1988.
Japanese: 猿之助十八番（えんのすけじゅうはちばん）は、市川猿之助(3代目)が昭和63年(1988年)に撰した澤瀉屋・市川猿之助のお家芸。
English: Ennosuke Juhachi Ban is characterized by its high percentage of plays which are 'revivals of toshikyogen (performance of an entire play).'
Japanese: 猿之助十八番は、そのほとんどが「通し狂言の復活」となっているのが特色である。
English: Of those plays, "Yoshitsune Senbon Zakura, the story of Tadanobu" (which is not toshikyogen) and "Yamato Takeru" (which is a new play) are different from the other plays, and Ennosuke announced that he would replace the said two plays with the following plays respectively in 2000.
Japanese: このうち、通しではない『義経千本櫻・忠信編』と新作の『ヤマトタケル』が色合いを異にしているが、猿之助は平成12年(2000)にこの二作を次の二作と差し替えることを発表している。
English: Kakoshu refers to twelve programs selected by Uzaemon ICHIMURA the fifteenth for which he had gained a reputation.
Japanese: 可江集（かこうしゅう）は市村羽左衛門(15代目)が自らの当たり芸を十二種選定したもの。
English: They are, in a sense, arts handed down from father to son of Kabuki, but in many cases they are not clearly recognized as arts of the Ichimura family, because the family line substantially failed after the death of Uzaemon ICHIMURA the fifteenth due to a lack of appropriate successors.
Japanese: いわゆる歌舞伎の家の芸であるが、十五代目市村羽左衛門没後思わしい後継者に恵まれず、家系は実質上絶えてしまったこともあって、市村家の芸であることが強く意識されることはあまりない。
English: Furthermore, their style is not greatly different from that of Danjuro ICHIKAWA the ninth and of Kikugoro ONOUE the sixth, and so they have more of a feature of 'Uzaemon ICHIMURA the fifteenth's Ohako (favorite stunts)' listing distinctive roles created by his unsurpassed individuality and benevolence.
Japanese: また型としても市川団十郎(9代目)や尾上菊五郎(6代目)のものとそう大きく変わるところはないため、むしろ十五代目市村羽左衛門の稀有な個性と仁によって生みだされた特色ある役を列挙した「十五代目市村羽左衛門の十八番」的な性格のほうが濃い。
English: Many programs contained in the selection feature a role of a handsome man or boy with his face painted white (or a similar role), or a role that appeals his good voice and eloquency, or a role with Edo-style sophisticated and gallant appearance in the case of plays dealing with the lives of ordinary people, and the selection contains few works of Maruhon Kabuki (Plays written for ningyo joruri (traditional Japanese puppet theater) that have been adapted for Kabuki (traditional drama performed by male actors)).
Japanese: 役としては白塗りの二枚目立役または若衆役かそれに類するものであること、調子のよい口跡を聞かせる役が多いこと、世話ものでは江戸前の粋でいなせな風情を見せる役が多いこと、丸本歌舞伎が少ないことなどが特徴。
English: It was originally the scene of Kajiwara Heizo Shimeiken Hoshiai-ji in 'Miura Osuke Kobai Tazuna' written by Senshi HASEGAWA and Bunkodo (Joruri dramtists in the mid Edo period) and the scene has become a separate program.
Japanese: もとは長谷川千四・文耕堂作「三浦大助紅梅革勺」（みうらのおおすけこうばいたづな）の内の梶原平三試名剣星合寺の場を独立させたもの。
English: However, when Uzaemon ICHIMURA acted in that program, he often called it 'Nani tachibana Homare no Ishikiri.'
Japanese: ただし十五代目市村羽左衛門は「名橘誉石切」（なにたちばなほまれのいしきり）として演じることが多かった。
English: The program is a story of KAJIWARA, who, secretly feeling sympahy for Genji (Minamoto clan) when the Taira family was at the height of its prosperity, obtained from a grinder and his son a celebrated sword related to Genji and looked forward to the future rising of Genji, and the main highlights of the program are the scene of Goro MATANO, a samurai belonging to the Taira family, who tries to buy the sword but is given a cold reception, the scene of judgement of the sword, and that of cutting someone with the sword by way of experiment.
Japanese: 筋は、平家全盛の世にひそかに源氏に心を寄せる梶原が研師の親子から源氏ゆかりの名刀を手に入れ、後日の挙兵を心待ちにするというもので、刀を買おうとする平家方の侍俣野五郎をあしらう様や刀の目利き、試し切りなどが主な為所となる。
English: It almost totally consists of solo performance, and was often played with the purpose of showing the dashing appearance, good voice and eloquence of Uzaemon ICHIMURA the fifteenth.
Japanese: ほとんど一人舞台と言ってもいい作品で、あくまで十五代目市村羽左衛門の颯爽たる容姿と口跡を見せるために上演されることが多かった。
English: Shinko Engeki Jusshu refers to the specialty plays of Kikugoro ONOE of Otowaya selected by Kikugoro ONOE the fifth and Kikugoro ONOE the sixth.
Japanese: 新古演劇十種（しんこえんげきじっしゅ）は、尾上菊五郎(5代目)と尾上菊五郎(6代目)によって撰じられた音羽屋尾上菊五郎のお家芸。
English: Kataoka Junishu refers to the specialty plays of Matsushimaya selected by Nizaemon KATAOKA the eleventh.
Japanese: 片岡十二集（かたおかじゅうにしゅう）は、片岡仁左衛門(11代目)が撰じた松嶋屋のお家芸。
English: Koga Jusshu refers to the specialty plays of Sojuro SAWAMURA of Kinokuniya (kabuki) selected by Sojuro SAWAMURA the seventh.
Japanese: 高賀十種（こうがじっしゅ）は、澤村宗十郎(7代目)が撰じた選定した紀伊國屋(歌舞伎)澤村宗十郎のお家芸。
English: Braided cord is the traditional Japanese craft, a cord made by interlacing fine silk threads and cotton yarns.
Japanese: 組み紐（くみひも）とは、日本伝統の工芸品で、細い絹糸や綿糸を編んで織り上げた紐。
English: Braided cord is classified broadly into three categories: 'square braid,' ribbon-like 'flat braid' and 'round braid.'
Japanese: 「角打ち紐」とリボン状に平たい「平打紐」と、丸い「丸打紐」の3種類に大きく分けられる。
English: It came upon the introduction of Buddhism to Japan as a decorative cord for accessories of butsugu (Buddhist altar fittings), Buddhist scriptures and scrolls.
Japanese: 日本には仏教の伝来により、仏具、経典、巻物の付属品の飾り紐として渡来した。
English: In the Nara period, braided kimono sashes made from fine color threads became popular as a formal dress for men and women; it was used as a part of arms in the Kamakura period, and as a decorative cord for the tea ceremony in the Azuchi-momoyama period.
Japanese: 奈良時代には細い色糸による組み帯などの男女の礼服として普及、鎌倉時代には武具の一部、安土桃山時代には茶道具の飾り紐として使われた。
English: In this period, as Hideyoshi TOYOTOMI encouraged arts and crafts, people who made a profession out of producing braided cord emerged.
Japanese: この時代には、豊臣秀吉が美術工芸を奨励したことから組み紐を職業とする者が現れた。
English: In the early Edo period, 内規台 for braided cord production was created and more beautiful colors and patterns were also invented.
Japanese: 江戸時代のはじめには組み紐製造の内規台が作られ、より美しい色彩や模様も考案された。
English: Sanada-himo braid' and 'Sanbu-himo braid' which had spread into the male-centered samurai society were extensively used for decoration, etc. of arms and swords and were considered one of items demonstrating samurai's sense of beauty and dandyism.
Japanese: 男性中心の武家社会に浸透した「真田紐」や「三分紐」は武具や刀剣の飾り等に盛んに用いられ、武士達の美的センスと伊達男ぶりを示すアイテムのひとつとされた。
English: During the Bunka era (1804 to 1817) in the late Edo period, it came to be used also as a obijime (decorative string used to hold a kimono sash in place) for women.
Japanese: 江戸末期の文化年間には女性の装いの帯締めとしての用途にも使われるようになった。
English: These braided cord products had been one-of-a-kind handicrafts created by master craftsmen, but a braided cord machine for industrial use was imported from Barmen, Germany in 1882, making braided cord manufacturing an industry.
Japanese: これらの組み紐は熟練の職人による一点ものの手工芸品だったが、1882年ドイツのバーメンから、工業用の組み紐製造機が輸入され、組み紐業が産業として成立するようになった。
English: Although the demand for braided cord as a decoration of swords had been diminished after the decree banning the wearing of swords in the Meiji period, it became established as a kimono accessory used mainly for obijime.
Japanese: 明治の廃刀令以降、刀剣の飾りとしての需要はなくなったが、帯締めの用途を中心に和服の装身具として定着した。
English: At present, there is a case of fusion between traditional industrial arts and Western culture, and U.S. sports brand Nike adopted 'Sanbu-himo braid' as strings of its sports shoes.
Japanese: 現代では伝統工芸と西洋文化の融合が図られる事例もあり、アメリカ合衆国のスポーツブランドナイキはスポーツ・シューズのストリングの紐に伝統的な平打ちの組み紐の「三分紐」を採用した。
English: The long-established braided cord store in Kyoto which received this offer from Nike had once declined it for the reasons of preservation of tradition and a lack of precedent, but accepted it later and the innovative shoes were released in 2001.
Japanese: この話を受けた京都の老舗組み紐店は、伝統の維持と、前例のない事からこの話を一度は断るが、後に承諾、画期的なシューズは2001年に発売された。
English: It is a nimono (stewed foods simmered in a soy-and-sake-based sauce) made of mainly taro, and chicken, carrot, burdock, deep-fried bean curd, salmon roe, scallop, mushroom, and so on.
Japanese: サトイモを主とし、鶏肉、ニンジン、ゴボウ、油揚げ、イクラ、貝柱、キノコ等を加えた煮物。
English: The soup is thickened with taro, so it doesn't need starch.
Japanese: サトイモによって「とろみ」が自然につくため、片栗粉やデンプンは必須ではない。
English: Yodogimi shu refers to the arts handed down from father to son, selected by Utaemon NAKAMURA the fifth.
Japanese: 淀君集（よどぎみしゅう）は、中村歌右衛門(5代目)が選定した家の芸。