nntsuzu/KFTT huggingface dataset:
English: (The meaning of the joke is that the prime number "two" is the oddest, meaning "strangest" as well as a mathematical "odd" number because it is the only even prime number).
Japanese: （意味は：数字の2は最も奇妙(odd/数学的には奇数を意味する単語)な素数である、何故ならば唯一の偶数の素数(代名詞one）であるから。)
English: (The sentence starts with "two" and ends with "one"; taking this as a pun, it follows that it contains a double kakekotoba).
Japanese: （最初に2、最後にoneを置くのも洒落の類とみなせば二重の掛詞となる。)
English: In poetry, stanzas often end with words that have the same final syllables (e.g. fall and hall).
Japanese: 詩において、節の最後を、語尾が同音節である単語(fallとhallなど)で揃える。
English: Below is a technique in which a famous passage from Shakespeare's dramas and "Mother Goose" is cited to suggest a separate meaning.
Japanese: シェークスピアの戯曲やマザーグースなどの著名な一節を引用して、別の意味を連想させる手法。
English: For example, the American film title "All the King's Men," which literally means "all the subjects of the king," is a citation from Humpty Dumpty through which the title suggests the tragic end of a powerful man.
Japanese: 例えば、アメリカ映画のオール・ザ・キングスメンについて、タイトルを直訳すると「王の全ての家来」であるが、これはマザーグースにおけるハンプティ・ダンプティからの引用であり、権力者の悲劇的な結末をタイトルから連想させている。
English: Agatha Christie's detective novels are renowned for many citations from "Mother Goose."
Japanese: また、アガサ・クリスティーの推理小説も、マザーグースからの引用が多いことで知られている。
English: These techniques are sometimes not fully captured in Japanese translations.
Japanese: なお、日本語に翻訳されると、原文におけるこれらの技法が十分に伝わらないことがある。
English: Utsusemi is the cast-off skin of a cicada (order: Pentatomidae), when it hatches.
Japanese: 空蝉（うつせみ）とは、カメムシ目の昆虫であるセミの羽化時の脱皮殻のこと。
English: Her name came from a waka poem that Genji sends her with a cicada shell because she left his courtship leaving a kimono (Japanese traditional clothing) behind.
Japanese: 名前の由来は、求愛に対して一枚の着物を残し逃げ去ったことを、源氏がセミの抜け殻によそえて送った和歌から。
English: Genji, who cannot forget Utsusemi, loves her more than ever in spite of her indifferent attitude, and pays a secret visit to the residence of Kii no kami (Governor of Kii Province) again.
Japanese: 空蝉を忘れられない源氏は、彼女のつれないあしらいにも却って思いが募り、再び紀伊守邸へ忍んで行った。
English: He catches a glimpse of Utsusemi playing a game of go with her stepdaughter, Nokiba no Ogi, and he considers that she is not necessarily beautiful, but very temperate, and he is attracted to her again.
Japanese: そこで継娘（軒端荻）と碁を打ち合う空蝉の姿を覗き見し、決して美女ではないもののたしなみ深い空蝉をやはり魅力的だと改めて心惹かれる。
English: However, Utsusemi, who notices Genji's visit, escapes from him leaving her thin robes behind.
Japanese: しかし源氏の訪れを察した空蝉は薄衣一枚を脱ぎ捨てて逃げ去ってしまう。
English: Genji unwillingly has a relationship with Nokiba no Ogi, who is left behind, and brings her thin robes home with him instead.
Japanese: 心ならずも後に残された軒端荻と契った源氏はその薄衣を代わりに持ち帰った。
English: He sends her a poem about the robes which looks like a cast-off skin of a woman, while Utsusemi secretly laments her insecure circumstances that she cannot accept Genji's love.
Japanese: 源氏は女の抜け殻のような衣にことよせて空蝉へ歌を送り、空蝉も源氏の愛を受けられない己の境遇のつたなさを密かに嘆いた。
English: She was born and brought up as the daughter of a middle-class court noble, and hoped to serve in the Imperial Court once, but she gets married to Iyo no suke (assistant governor of Iyo Province - the present Aichi Prefecture) as his second wife, who is much older than she.
Japanese: 中級貴族の娘として生まれ育ち、宮仕えを希望したこともあったが、伊予の介（伊予国（現在の愛媛県）の国守の次官）を務める男の元に年の離れた後妻として嫁いだ。
English: The status of woman in those days was dependent upon the status of her father or husband, and she was a middle-class court noble, so there was a difference in degree between Genji, who belongs to the highest class, and her.
Japanese: 当時、女性の地位は父か夫の位に順ずるので、彼女は貴族としては中級の身分であり、上流中の上流の源氏とは身分がつりあわなかった。
English: She gets married to a man who is much older than her, and his daughter by a previous marriage (Nokiba no Ogi) is almost as old as Utsusemi.
Japanese: 作中に伊予介の娘（軒端荻）が登場するが、前妻の娘であった彼女と空蝉はほとんど同年輩と言う、かなりの年の差結婚である。
English: They do not have any children, so she keeps her little brother (Kogimi), who is much younger than her, and brings him up as if he were her own son.
Japanese: 夫との間に子供は出来なかったようで、年の離れた幼い弟（小君）を一人手元に置いて我が子のように養育していた。
English: The child later serves Genji, and after her husband dies, Genji takes him in publicly stating that the child has worked for him, so he has responsibility.
Japanese: この子は後に源氏に仕えて、夫との死別の後はその縁と言う触れ込みで源氏に引き取られた。
English: When Utsusemi was little, she lost her father who was supposed to be her supporter, so she was taken to wife by Iyo no suke, who was looking for a second wife, and she led a quiet and stable life.
Japanese: 空蝉は後ろ盾となる父を早くに亡くし、後妻を探していた伊予の介の元に妻として引き取られて、地味で堅実な生活を送っていた。
English: One day, she has a relationship with Genji, who has heard a rumor about her and he sneaks into her residence out of curiosity when he is in katatagae (to stay the night in a place situated at another point on the compass when one's destination from home lies in an ill-starred direction).
Japanese: あるとき、彼女の噂を聞いていたことから方違先で興味本位に忍んできた源氏と情を通じてしまう。
English: She is attracted to Genji's charm and his courtship, but at the same time she is afflicted because she understands that they belong to different classes.
Japanese: 魅力的な源氏の求愛に惹かれ悩みながらも、身分が釣り合わない立場であることを理解していた。
English: So even after they sleep together, she did not give her heart to him, and she leaves the capital following her husband.
Japanese: 逢瀬の後はいくら掻き口説かれても靡こうとはせず、その後夫に従って京を離れた。
English: Ironically, it is her rejection that makes her an unforgettable figure for Genji, who is a proud-hearted noble.
Japanese: 皮肉にも、驕慢な貴公子であった源氏にとって、空蝉の拒絶が彼女を忘れられない存在にした。
English: Genji takes in her younger brother, and later invites Utsusemi, who has become a nun, to the Nijohigashi no In residence in order to have her live there.
Japanese: 源氏は彼女の弟を手元に引き取り、後には尼となった彼女を二条東院に迎えて住まわせることとなる。
English: Though she is modest and looks plain, she is small, so her behavior stands out splendidly and she has good taste.
Japanese: 控えめで、容貌も非常に地味な女性であったが、小柄で立ち振る舞いが水際立っており趣味も良かった。
English: Even when Genji makes an advance to her, she maintains her honor gracefully to the last though she is afflicted, which makes Genji, a young noble, deeply impressed.
Japanese: 求愛に対しても、悩み迷いながらも最後まで品良く矜持を守り通し、貴公子である源氏を感心させている。
English: It is said that her model would be the author, Murasaki Shikibu, because of the resemblance to her circumstances and status.
Japanese: 彼女のモデルに関しては、境遇や身分が似ているため、作者である紫式部自身がモデルではないかと言われている。
English: Suetsumuhana' is a nickname that Genji gave this woman, associating her 'red nose' with safflower's color 'red.'
Japanese: 「末摘花」とは、源氏がこの女性につけたあだ名で、彼女の「鼻が紅い」こととベニバナの「花が紅い」ことをかけたものである。
English: Genji, who heard a rumor about the daughter of Prince Hitachi from menotogo (a child with a nursemaid), Taifu no Myobu (a noblewoman who is a Commissioner's daughter), was captured by an illusion of 'a tragic princess who was ruined,' chasing the woman out of curiosity.
Japanese: 乳母子の大輔の命婦から亡き常陸宮の姫君の噂を聞いた源氏は、「零落した悲劇の姫君」という幻想に憧れと好奇心を抱いて求愛した。
English: Although he succeeded in meeting the princess, competing against his best friend, Tono Chujo (the first secretary's captain), her reaction was awkward, and this puzzled him.
Japanese: 親友の頭中将とも競い合って逢瀬を果たしたものの、彼女の対応の覚束なさは源氏を困惑させた。
English: He was often bored with her naive words and deeds, but sympathized with her about her poverty, so came to support her life, feeling that the beauty of her nature could not allow him to desert her.
Japanese: その後もあまりに世間知らずな言動の数々に辟易しつつも、源氏は彼女の困窮ぶりに同情し、また素直な心根に見捨てられないものを感じて、彼女の暮らし向きへ援助を行うようになった。
English: She was the only daughter of Prince Hitachi, one of the descended Imperial Family members, but she lost her father, who could have been her supporter, so was in hard straits.
Japanese: 常陸宮と呼ばれるれっきとした皇族の一人娘だが、後ろ盾である父親を早くに亡くし困窮していた。
English: Although she had an older brother who became a priest, and an aunt who got married to Kokushu (head of provincial governors), she could not expect financial aid, and lived in a dilapidated house with old court ladies.
Japanese: 僧侶となった兄と国守に嫁いだ叔母がいるが、経済的な援助は見込めず、あばら家となった屋敷で年老いた女房たちと暮らしている。
English: In The Tale of Genji, she was a female character whose appearance was described most elaborately, and an unusually plain woman among the other beautiful characters.
Japanese: 源氏物語で最も細かく容貌を描写された女性で、美男美女ぞろいの源氏物語の中では異色の不美人である。
English: She was severely criticized as a woman 'whose hair was great, but her sitting height was too tall, and she was thin, and her face was pale with a big nose hanging down like an elephant's, and moreover the tip of the nose was an uglily red.'
Japanese: 「髪は素晴らしいが、座高が高く、やせ細っていて顔は青白い、中でも鼻が大きく垂れ下がってゾウのよう、その先は赤くなっているのが酷い有様」と酷評されている。
English: Although she was quiet and honest, her way of thinking was hilariously old-fashioned and formal, so she exposed her naiveness.
Japanese: おとなしく実直な性格だが、滑稽なまでに古風で堅苦しく、世間知らずの面を露呈する。
English: Her old-fashioned way of thinking and tactless nature often made Genji say 'I am ashamed' and embarrassed even after she was taken in by him.
Japanese: 昔気質で気の利かない性質の為、引き取られてからも源氏を「こちらが恥ずかしくなる」と度々閉口させた。
English: As mentioned, she had no particular outstanding feature except her family line, but her obstinacy derived from her pure mind, and she kept waiting for Genji while he forgot about her.
Japanese: このように一見家柄以外に取柄のない彼女だが、頑迷さは純真な心の裏返しであり、源氏に忘れられていた間も一途に彼を信じて待ち続けた。
English: Genji, who was impressed with her, subsequently took her in to Nijohigashi no in residence, so she spent her later years in peace and quiet as one of his wives.
Japanese: それに感動した源氏によりその後二条東院に引き取られ、妻の一人として晩年を平穏に過した。
English: A rakushu (a satirical poem with a 31 syllable verse) is a vehicle of expression which was prevalent from the Heian to the Edo period.
Japanese: 落首（らくしゅ）は、平安時代から江戸時代にかけて流行した表現主法の一つである。
English: In public places, especially intersections and riversides where people easily gathered, notices would be put up, publishing anonymously written kyoka (lit. mad poems) that generally satirized current events.
Japanese: 公共の場所、特に人の集まりやすい辻や河原などに立て札を立て、主に世相を風刺した狂歌を匿名で公開する。
English: That there was no freedom of speech in those days was a matter of course, and political criticism was a highly risky act.
Japanese: 当然のことながら当時言論の自由というものは存在せず、政治批判は極めて危険性の高い行為だった。
English: Any literate person, however, could freely engage in discursive activities by anonymously publishing their political views.
Japanese: だが匿名での公開によって、読み書きができる者なら誰でも自由に言論活動を展開することができた。
English: "Rakusho" (parodies) were similar in nature with slightly longer passages than those in rakushu.
Japanese: 類似した例に「落書」（らくしょ）があり、落首よりやや長めの文が公開された。
English: An Ieyasu TOKUGAWA was alone and ripe, falling off a tree, under which Hideyori TOYOTOMI was ready to pick it up (Rakushu at Nijo-jo Castle).
Japanese: 徳川家康は　独り熟して　落ちにけり　木の下に居て　拾う豊臣秀頼　（二条城の落首）
English: Since asagao (朝顔) is an old name for althaea (槿), it is uncommonly written with the letter '槿' (asagao).
Japanese: 朝顔がムクゲ（槿）の古称でもあることから、まれに「槿（あさがお）」と表記されることがある。
English: Around the same time during the death of Fujitsubo, Genji's uncle, Momozono Shikibukyo no Miya passed away, so his daughter, Asagao, resigned from the post of Sai-in (Imperial Princess appointed to serve the deities of the Kamo-jinja Shrines), shut herself up in the residence.
Japanese: 藤壺の死去と同じ頃、源氏の叔父である桃園式部卿宮が死去したので、その娘、朝顔は斎院を退いて邸にこもっていた。
English: Genji, who had been attached to Asagao since he was young, often visited the residence of Momozono under the pretext that he called on his aunt, Onna Gonomiya, living with Asagao, to inquire after her health, which made Murasaki no ue feel uneasy.
Japanese: 若い頃から朝顔に執着していた源氏は、朝顔と同居する叔母女五の宮の見舞いにかこつけ頻繁に桃園邸を訪ね、紫の上を不安にさせる。
English: Asagao also had a liking for Genji, but she refused him, being afraid that she would be unhappy as well as Rokujo no Miyasudokoro, if she got intimately involved with him.
Japanese: 朝顔も源氏に好意を抱いていたが、源氏と深い仲になれば、六条御息所と同じく不幸になろうと恐れて源氏を拒んだ。
English: One snowy night, Genji, who gave up Asagao, thought back to the past and told Murasaki no ue about the women with whom he had had relationships with so far, comforting her.
Japanese: 朝顔への思いを諦めた源氏は、雪の夜、紫の上をなぐさめつつ、これまでの女性のことを話して過去を振り返る。
English: That night Fujitsubo appeared in Genji's dream, telling him that she was distressed because her sin was revealed, and she was feeling bitter against him.
Japanese: その夜源氏の夢に藤壺があらわれ、罪が知れて苦しんでいると言って源氏を恨んだ。
English: Her name was derived from the episodes in 'Hahakigi' (The Broom Tree) and 'Asagao' in which Genji sent her a waka poem with a morning glory, then she was called 'Princess Asagao,' 'Asagao no Saiin,' ('Asagao' was written in Japanese with the letter '朝顔' or '槿'), and so on.
Japanese: 名前は、源氏からアサガオの花を添えた和歌を贈られたという「帚木」や「朝顔」の逸話からきており、そこから「朝顔の姫君」「朝顔の斎院」「槿姫君」「槿斎院」などの呼び名がある。
English: Since she was of noble birth, she was seen as his possible legal wife, which made Murasaki no ue, the virtual wife, feel uneasy.
Japanese: 高貴の出自のため正妻候補に幾度か名前が挙がり、正妻格の紫の上の立場を脅かした。
English: She also had a liking for Genji, but she did not want to be his wife, because she often heard about his many love affairs and what had become of the women who had been involved with him.
Japanese: 姫君自身も源氏に好意を寄せているが、源氏の恋愛遍歴と彼と付き合った女君たちの顛末を知るにつけ妻になろうとまでは思わない。
English: She kept refusing Genji's courtship, forming a platonic relationship with him, and kept a mere friendship all the time elegantly exchanging letters whenever there was a chance.
Japanese: 源氏の求愛を拒み続けてプラトニックな関係を保ち、折に触れて便りを交わす風流な友情に終始した。
English: Because she had been Saiin for a long time since the reign of Emperor Suzaku, she missed the chance to get married, remained single, became a nun, then stepped off the center stage of the tale.
Japanese: 朱雀帝時代から斎院を長く続けたたため婚期を逃し、そのまま独身を貫き通して出家、物語の表舞台から消える。
English: Among the manuscripts of The Tale of Genji, Aobyoshi-bon (Blue Book) manuscripts designate the ones which seem to have been transcribed by FUJIWARA no Teika, and also the ones which are said to have been transcribed from Teika's manuscript.
Japanese: 青表紙本（あおびょうしぼん）とは、源氏物語の写本のうち藤原定家が作成したとされるものおよびそれを写して作成されたとされるものをいう。
English: The name of 'Aobyoshi-bon' was derived from the blue cover of the manuscript made by Teika.
Japanese: 「青表紙本」という呼び名は定家が作成した写本の表紙が青かったことに由来する。
English: According to "Meigetsuki" (Chronicle of the Bright Moon), the diary of FUJIWARA no Teika, 'Once there was a reliable manuscript of The Tale of Genji, which could have been called shohon (a verified text), in FUJIWARA no Teika's residence.
Japanese: 藤原定家の日記である『明月記』等の記述を元にすると、「藤原定家の家にはかつて「証本」と呼びうる信頼できる源氏物語の写本があった。
English: Due to his laziness, the manuscript had not existed for a long time, but one day he borrowed a manuscript from a reliable place, ordering the little girls in his house to transcribe the manuscript, and after that comparing with various manuscripts in different places.'
Japanese: その後自身の怠惰によりそのような状態が長く続いてきたが、あるときしかるべきところから写本を借りてきて家の少女らに命じて写本を作らせ、その後もいろいろなところにある写本と照合した。」とある。
English: Today four quires of the manuscripts in Teika's own hand are extant in dispersed condition; several pages from the beginning were transcribed by Teika, and the rest of them were done by somebody.
Japanese: 現在定家の自筆本はばらばらの状態で４帖残っているが、最初の方を定家自らが書き、残りを別の人間が書いたものである。
English: Compared with the extant Aobyoshi-bon manuscript, the Kawachi-bon, the other version of manuscript, is more coherent, especially in most of the unclear sentences of the Aobyoshi-bon manuscript.
Japanese: 現在ある青表紙本と河内本の本文を比べると、青表紙本の方だと意味が通らない多くの箇所で河内本では意味が通るような本文になっていることが多い。
English: This is because positive efforts were made to revise the unclear sentences when the Kawachi-bon manuscript was made, while the Aobyoshi-bon was transcribed with the aim of preserving the original sentences as much as possible even though they were not clear.
Japanese: これは河内本が意味の通りにくい本文に積極的に手を加えて意味が通るようにする方針で校訂されたのに対して青表紙本では意味の通らない本文も可能な限りそのまま残すという方針で校訂されたためであるからだと考えられている。
English: It has been considered that this corresponds to the remarks from FUJIWARA no Teika and MINAMOTO no Mitsuyuki; both of them recognized that the sentences in those days were 'out of order, and it was hard to tell which one was correct,' but Teika said, 'I could not solve the questions,' while Mitsuyuki said, 'after investigation, I could solve the problems.'
Japanese: このことは藤原定家と源光行らが共に当時の本文の状況を「乱れていてどれが正しいのかわからない。」と認識していたにもかかわらず、定家は「疑問を解決することはできなかった。」という意味のことを述べ、源光行は「調べた結果疑問を解決することができた。」という意味のことを述べていることともよく対応していると考えられてきた。
English: That is why the Aobyoshi-bon manuscript has been thought closer to the original text, when compared to the Kawachi-bon manuscript.
Japanese: そのため、河内本と比べると青表紙本の方が原本により近い本文であると考えられてきた。
English: However, when the manuscript of Tosa Nikki (Tosa Diary) made by Teika was studied, it was found that it contained the parts which he revised on purpose, so some people are asking for a restudy to see if the manuscripts of the Aobyoshi-bon line had really not been revised.
Japanese: 但し青表紙系の本文が本当に元の本文に手を加えていないかどうかについては定家による土佐日記の写本を調べると、本文を意識的に整えたと見られる部分もあることなどから、再検討の必要が唱えられている。
English: Considering that there are the first and the second "Okuiri," the commentary which was added at the end of the manuscript by FUJIWARA no Teika, some people think that the Aobyoshi-bon, which was defined as 'the text fixed by FUJIWARA no Teika,' has several versions in the first place.
Japanese: 藤原定家により写本の奥に書き付けられた注釈にである『奥入』に第一次と第二次があることを考えても青表紙本の定義である「藤原定家の定めた本文」がそもそも一通りではないとする見方もある。
English: The theory was advocated by Akio ABE, which claims that it is traditionally said that Aobyoshi-bon manuscript was faithfully transcribed from one of the manuscripts which was in front of FUJIWARA no Teika, and it should have been one of the Beppon, therefore Aobyoshi-bon is, in fact, only a variant of the Beppon, and it should be treated as the one in the same group as Beppon.
Japanese: 阿部秋生により唱えられたもので、伝承によれば青表紙本とは藤原定家の目の前にあったある写本の一つを忠実に写し取ったものであり、藤原定家の目の前にあったある写本とは別本の一つになるはずであるから青表紙本とは実は別本の一つにすぎないとして青表紙本を別本に含めて考える説である。
English: In the first place, little is known about the completion of the Aobyoshi-bon, and it is said that FUJIWARA no Teika compared many manuscripts, but it is unknown what manuscripts were actually collected for reference.
Japanese: そもそも青表紙本の成立には不明の点が多く、藤原定家は多くの写本を照合したらしいが具体的にどのような写本を資料として集めたのかは分かっていない。
English: The extant manuscripts in FUJIWARA no Teika's own hand are incomplete, and it is unknown whether only one manuscript by Teika was made.
Japanese: 現在残っている藤原定家の自筆本はごく断片的なものであり、できあがった定家の自筆本が一組だけなのかということも分からない。
English: (Today the dominant opinion is that at least two manuscripts by Teika's own hand existed, considering that there are two kinds of Okuiri, the first and the second.)
Japanese: （奥入に第一次奥入と第二次奥入の二つがあることなどから、現在では定家自筆本は少なくとも2種類あるとする考えが有力である。）
English: There is also a view about the completion of the Aobyoshi-bon manuscript that it is quite unnatural he had not kept The Tale of Genji at all for thirty years, taking into consideration the fact that FUJIWARA no Teika treated The Tale of Genji as a very important literary work.
Japanese: 青表紙本が出来た経緯についても、源氏物語を極めて重要視した藤原定家の態度を考えると30年もの間源氏物語の写本を全く持っていなかったとするのは極めて不自然であるとする意見もある。
English: First of all, FUJIWARA no Teika recognized that the text in those days were 'out of order and I could not tell which one was correct,' and although he compared various manuscripts, he said, 'I could not solve the problems about the text.'
Japanese: そもそも藤原定家は当時の本文の状況を「乱れていてどれが正しいのかわからない。」と認識しており、さまざまな写本を照合したが「本文上の疑問点を解決することは出来なかった。」と述べている。
English: There is a fundamental question whether it is appropriate to set a standard based on the Aobyoshi-bon, the results of Teika's study about which he commented such things mentioned above.
Japanese: このような記述しかない定家の研究成果が青表紙本であり、そのようなものを基準にしてよいのかという根本的な問題が存在する。
English: During the Kamakura period, the Kawachi-bon manuscripts were dominant, so Ryoshun IMAGAWA even said, 'The Aobyoshi-bon manuscripts were lost.'
Japanese: 鎌倉時代には河内本が優勢で、今川了俊などは、「青表紙本は絶えてしまった。」と述べていたほどだった。
English: However, since the mid-Muromachi period, the Aobyoshi-bon manuscripts had become dominant due to the activities of the Sanjonishi family, who were descended from FUJIWARA no Teika, while the Kawachi-bon manuscripts almost disappeared.
Japanese: しかし、室町時代半ば頃から藤原定家の流れを汲む三条西家の活動により青表紙本が優勢になり、逆に河内本の方が消えてしまったかのような状況になった。
English: Compared with the authentic Aobyoshi-bon manuscript, the ones which were handed down from the Sanjonishi family and in wide circulation at that time contained the texts from the Kawachi-bon and other manuscripts.
Japanese: ただしこのとき普及した三条西家系統の青表紙本は純粋な青表紙本と比べると河内本等からの混入が見られる本文であった。
English: Books printed from engraved wood such as "The Tale of Genji with illustrations," "Shusho Genji monogatari" (Tale of Genji with Headnotes), "The Tale of Genji Moon on the Lake Commentary," etc. belonged to the Aobyoshi-bon line in a broad sense.
Japanese: 『絵入源氏物語』、『首書源氏物語』、『源氏物語湖月抄』等の版本も広い意味での青表紙本系統の本文であった。
English: Most of the text were a mixture of the Aobyoshi-bon manuscripts from the Sanjonishi family, the Kawachi-bon, and the Beppon.
Japanese: 多くの場合三条西家系統の青表紙本系の本文にさらに河内本や別本からの混入が見られる本文であった。
English: Even after the Meiji period began and printed books came to be published, such conditions continued for a while, and the modern translations in those days by Akiko YOSANO and others were made on the basis of the manuscript.
Japanese: 明治時代に入って活字本が出版されるようになってもこの状況はしばらく続き、与謝野晶子によるものなど、当時の現代語訳もこれらの本文を元に作られていた。
English: This is how the Aobyoshi-bon line manuscripts circulated, but they spread so widely that there were many manuscripts whose outlines were almost the same, but details were quite different.
Japanese: このように普及した青表紙系本文であったが、あまりにも広く普及し過ぎたために、大筋では同じであるものの細かいところが異なるきわめて多くの写本が存在した。
English: It was hard to tell which manuscript was the original, and it had been said that there was no old manuscript which preserved good texts from the Aobyoshi-bon line manuscripts.
Japanese: そして、そのどれが元の形なのかわからない状況であり、良質の青表紙系の本文を保存した古写本は存在しないといわれてきた。
English: So, at first, Kikan IKEDA tried to make an academic variorum edition based on the Kawachi-bon line manuscripts, and the work was about to be finished once.
Japanese: そのため、池田亀鑑は当初河内本系統の写本を元に学術的な校本を作ろうとし、一度は完成間近まで作業は進行した。
English: However, since around the late Meiji period, a thorough investigation of the place where the old manuscripts were kept and their comparison were begun, and many old manuscripts of fine quality such as Oshima-bon were found, which made it possible to make a variorum edition of the Aobyoshi-bon manuscripts.
Japanese: しかしながら明治末期ころから本格的な古写本の所在の調査とその比較が始まり、大島本など良質な本文を持つとされる古写本がいくつも発見されることにより青表紙本をもとに校本を作成することが可能になった。
English: An academic variorum edition such as "The Tale of Genji Match-up" and "Genji monogatari taisei" were created according to these books.
Japanese: そしてそれらを基準として『校異源氏物語』や『源氏物語大成』といった学術的な校本が作成された。
English: Today, the following four fragmentary manuscripts, which were recognized as the ones written by FUJIWARA no Teika, exist.
Japanese: 現在、藤原定家の自筆本と認められるものとして、以下の4帖のみが断片的に現存している。
English: It was also called Meiyurinmo-bon because the chapters of Kiritsubo (The Paulownia Court), Hahakigi, Hana no En (The Festival of the Cherry Blossoms), Wakana (new herbs) I and II, Hashihime (The Maiden of the Bridge), and Ukifune (A Drifting Boat) were faithfully copied from the manuscript by Teika, and even the order of the letters were the same.
Japanese: 桐壺、帚木、花宴、若菜上下、橋姫、浮舟については定家の自筆本を文字の配列に至るまですべてそのまま写したとされていることから明融臨模本とも呼ばれる。
English: It is considered the best among the Aobyoshi-bon line manuscripts which are almost complete set of volumes, and adopted as a source book for many variorums such as 'Genji monogatari taisei.'
Japanese: ほぼ全巻揃った青表紙本系の写本の中では最も良質のものとされており、「源氏物語大成」を初めとする多くの校本の底本に採用されている。
English: Books printed from engraved wood in Edo period such as The Tale of Genji with illustrations, Kogetsu-sho Commentary, and so on were close to the text derived from this manuscript, having a big influence on interpretation of The Tale of Genji.
Japanese: 絵入源氏物語、湖月抄などの江戸時代の版本はこの写本の系統の本文に近く、源氏物語の解釈などには大きな影響力を持った。
English: However, it contains many different sentences from the manuscript by Teika, so it is not an authentic manuscript of the Aobyoshi-bon line, but one under the influence of the Kawachi-bon and the Beppon.
Japanese: しかし、本文自体は定家の自筆本などとはことなる点も多いもので純粋な青表紙系の本文ではなく河内本や別本の影響を受けたものである。
English: It was used as a source book for (old) Anthology of Classical Japanese Literature 'The Tale of Genji' collated by Tokuhei YAMAGISHI
Japanese: 山岸徳平の校訂による（旧）岩波日本古典文学大系「源氏物語」（～）の底本になった。
English: Among the surviving manuscripts of "Genji Monogatari," it has almost all chapters in it and is considered as one of the best among the manuscripts of the 'Aobyoshi-bon' (Blue Book) line.
Japanese: 現存する『源氏物語』の写本のうち、ほぼ全巻が揃い、「青表紙本」系統の本文を持つものとしては最良の写本であると考えられている。