nntsuzu/KFTT huggingface dataset:
English: In "Shibaraku" (Just a moment), which was one of kabuki's juhachiban (eighteen best plays of the Ichikawa family of kabuki actors), an akuyaku (villain's role) called 'namazu bozu' (namazu priest) appears, and there is a scene in which he puts on a bold front to the main character backed with an earthquake.
Japanese: 歌舞伎十八番の一つである演目『暫（しばらく）』には「鯰坊主」という悪役が登場し、主人公に対し地震を背景とした強がりを言う場面がある。
English: A typical composition would be where the main character of "Shibaraku" holds the namazu bozu down with a keystone.
Japanese: 『暫』の主人公が鯰坊主を要石で押さえつける、というのが主な構図である。
English: Bringing the catfish under control with a keystone was originally a role of the Kashima Daimyojin (The Kashima Deity) and there was no scene like that in "Shibaraku" in kabuki, so the composition is judged as the combined features of both.
Japanese: 要石による大鯰の制圧は本来は鹿島大明神の役割で、歌舞伎の『暫』にはこのような場面は登場せず、両者の特徴を組み合わせた構図とみられる。
English: In addition, other programs such as "Yowanasake Ukinano Yokogushi" and "Saya-ate" (The Scabbard Crossing) were used as the subject matter for namazu-e.
Japanese: このほか、『与話情浮名横櫛』『鞘当』などの演目も鯰絵の題材とされている。
English: Otsu-e are a folk paintings featuring Otsu inn town with Buddhist paintings and a wide range secular paintings.
Japanese: 大津絵は大津宿を中心に描かれた民俗絵画で、本来の仏画とともに多彩な世俗画を特徴としている。
English: The 'hyotan namazu' pokes fun at 'hyonenzu,' which is a national treasure painted by Josetsu, who was a painter/priest in the Muromachi period and this was one of the typical subject matters called 'Otsu-e jisshu' (ten types of Otsu-e).
Japanese: 「大津絵十種」と呼ばれた代表的な画題の一つとして、室町時代の画僧如拙により描かれた国宝「瓢鮎図」（ひょうねんず：ここでの鮎は鯰の古字）を茶化した「瓢箪鯰」がある。
English: Hyonenzu were originally painted with a zen mondo (Zen riddle) on how to hold down a slippery catfish with a slick gourd and a picture in which a monkey is trying to hold down a catfish with a gourd was comically painted in Otsu-e.
Japanese: つるつるの瓢箪でぬめるナマズを押さえつけるにはどうするかという禅問答をモチーフとしたのが本来の瓢鮎図で、大津絵では猿が瓢箪で鯰を押さえようとする図が滑稽に描かれる。
English: Among namazu-e after the earthquake, parodies of various Otsu-e themes such as fujimusume can be seen in addition to hyotan namazu.
Japanese: 地震後の鯰絵にも、この瓢箪鯰に加え、藤娘など大津絵のテーマをパロディ化したものが種々認められる。
English: It is believed that the first appearance of catfish in kawaraban was for the Ise, Mino, and the Omi Earthquakes in 1819.
Japanese: 地震を報じた瓦版にナマズが登場したのは、1819年（文政2年）の伊勢・美濃・近江地震が最初とみられている。
English: This kawaraban was titled as "year 2 of the Bunsei era (1819), year of Tsuchinoto (16th year of the sexagenary cycle), ozumo (sumo wrestling) and it depicted a scene in which a personified catfish and a god sumo wrestling each other.
Japanese: この瓦版は「文政二己卯年大角力」と題され、擬人化されたナマズと神々が相撲をとる姿が描かれている。
English: With respect to the Zenkoji Earthquake in 1847 (May 7, 1847), a catfish appears in Kuniteru UTAGAWA's 'Sateha Shinshu Zenkoji' (Zenko-ji Temple in Shinano Province) and namazu-e were also published after the Odawara Earthquake in 1853 (March 11, 1853) and the Ansei Tokai Earthquake in the next year (December 23, 1854).
Japanese: 1847年の善光寺地震（弘化4年3月24日）では歌川国輝による「さてハしんしうぜん光寺」にナマズが現れるほか、1853年の小田原地震（嘉永6年2月2日）や翌年の安政東海地震（嘉永7年11月4日）の後にも鯰絵が出版されている。
English: In Edo at that time, visits to the Dainichi Nyorai (Mahavairocana) and so on, was widespread and the composition of folk paintings at that time influenced several namazu-e in which Kajima Daimyojin appear.
Japanese: 当時の江戸では大日如来などへの参詣が広まっており、このときに描かれた世俗画の構図が、鹿島大明神が登場するいくつかの鯰絵に影響している。
English: Kubihiki (a tug of war between two persons with a loop of cord stretched around their necks) and janken (the game of 'paper stone and scissors') which were Ozashiki-Asobi (games with Geisha - Japanese professional female entertainer at drinking parties) in red light districts were used as themes and there is the example of 'November 11, 1855, the night of a big earthquake, namazu mondo' (literally, talk on catfish) in which Mathew Perry and a catfish play kubihiki.
Japanese: 遊廓のお座敷遊びであった首引きやじゃんけんもテーマとされ、地震の2年前に黒船で来航したマシュー・ペリーとナマズが首引きをする「安政二年十月二日夜大地震鯰問答」などの例がある。
English: The shini-e (woodblock prints for commemoration issued as a memorial when a famous actor, etc. dies) of Danjuro ICHIKAWA (VIII), who was a kabuki actor and died in the previous year influenced the namazu-e titled 'Onamazu nochi no namayoi' (Drunk after the big catfish).
Japanese: また、前年に亡くなった人気の歌舞伎役者である市川團十郎(8代目)の死絵も、「大鯰後の生酔」という鯰絵に影響を与えている。
English: As described above, namazu-e based on various existing published materials reflected popular customs at that time.
Japanese: 上述のように、鯰絵は以前に存在したさまざまな出版物を下敷きとし、また当時の世俗を反映したものであった。
English: Hashika-e is a kind of ukiyo-e, also called hoso-e, and acts as a talisman to prevent smallpox and, at the same time, it was a secular painting that depicted the situation of the public who were worried of the epidemic.
Japanese: はしか絵は疱瘡絵とも呼ばれる浮世絵の1種で、天然痘を防ぐ護符としての役割をもつとともに、流行に混乱する人々の状況を描く世俗画でもあった。
English: Among a series of hashika-e painted at the time when measles prevailed during Edo in 1862, we see several works that borrowed the composition from namazu-e of seven years before.
Japanese: 文久2年に江戸で麻疹が広まった際に描かれた一連のはしか絵では、7年前の鯰絵に構図を借りた作品がしばしば見受けられる。
English: The basic one is where a big catfish in namazu-e is replaced with the god of measles, such as 'hashika nochino yojo' (care after measles) in comparison with 'sokuseki namazu hanashi' (quick talk on catfish) where people are beating a catfish in the drawing.
Japanese: ナマズを打ち据える民衆を描いた「即席鯰はなし」に対する「はしか後の養生」など、鯰絵における大鯰を麻疹の神に置き換えたものが基本である。
English: After the year of hashika-e in 1863, awate-e due to the Namamugi Incident and the Anglo-Satsuma War.
Japanese: はしか絵の翌年、1863年（文久3年）には生麦事件から薩英戦争に至るまでの江戸における混乱を描いたあわて絵が流行した。
English: In this year, in Yokohama, there was a warning bombardment by the British army against the shogunate and many of the public who were afraid of a full-scale attack suddenly evacuated from Edo to the countryside.
Japanese: この年横浜ではイギリス軍による幕府への威嚇砲撃があり、本格攻撃を恐れた庶民が江戸から郊外へと一斉に避難する騒ぎがあった。
English: Such situations were comically depicted in awate-e and tookideas from namazu-e composition as with hashika-e.
Japanese: この様子を滑稽に描いたのがあわて絵で、はしか絵と同じく鯰絵の構図を多く参考にしている。
English: Nyobo was a female servant who did domestic matters for people in the Imperial court or a distinguished person in aristocratic circles from the Heian period to around the Edo period.
Japanese: 女房（にょうぼう）とは、平安時代から江戸時代ごろまでの貴族社会において、朝廷や貴顕の人々に仕えた奥向きの女性使用人。
English: The name of nyobo was derived from the chamber which was assigned to them in the Imperial court or the residence of the court noble that they attended.
Japanese: 女房の名称は、仕える宮廷や貴族の邸宅で彼女らにあてがわれた専用の部屋に由来する。
English: They were high-ranking servants who took care of solely domestic chores of their master.
Japanese: もっぱら主人の身辺に直接かかわる雑務を果たす身分の高い使用人であった。
English: Sometimes nyobo played roles as a wet nurse, a private tutor for an infant or a girl master, or a clandestine secretary for a boy master.
Japanese: 場合によっては乳母、幼児や女子の主人に対する家庭教師、男子の主人に対する内々の秘書などの役割を果たした。
English: If her master was male, she often became his concubine; on the other hand, if her master was female, she had relationships with men who visited her master.
Japanese: 主人が男性の場合には主人の妾（召人）となったり、女性の場合には主人のもとにかよう男と関係を持つことが多かった。
English: Among the nyobo working in the Imperial palace, a court lady who served the Emperor was called 'Ue no nyobo,' and she was distinguished from the nyobo privately serving the Empress (or her family) in kokyu (Empress's residence).
Japanese: なお内裏で働く女房のうち、天皇に仕えるのは「上の女房」と呼ばれる女官で、後宮の妃（ひいてはその実家）に仕える私的な女房とは区別される。
English: In the society after the mid-Heian period, girls from the middle-ranking families such as Zuryo (the head of the provincial governors) often entered the service, therefore they were intelligent.
Japanese: 平安中期以降の社会においては受領階級などの中級貴族の娘が出仕することが多く、そのため教養に優れていた。
English: There were many nyobo who were good at waka poetry and Japanese literature, so the literary works that were created from the Heian period to the Kamakura period by the authors belonging to this class are specifically called nyobo bungaku (literature by nyobo).
Japanese: 和歌や和文文学に優れた人物も多く、平安期から鎌倉期にかけてのこの階層の作者の手になるものを特に女房文学と呼ぶ。
English: In modern Japan, the word nyobo mentioned above is used as another name for a wife.
Japanese: 上記の女房に由来して、現代日本においては妻の別称として用いられている。
English: According to the dialect in the Unpaku (Izumo, Hoki) provinces, a woman is called 'nyoba,' which seems to have the same origin.
Japanese: 雲伯方言では、女性のことを「にょば」といい同源の言葉であると考えられる。
English: Emperor Kiritsubo/Kiritsubo-in is the first Emperor in "The Tale of Genji" (the period of reign: from the chapter of 'Kiritsubo' [The Paulownia Court] to 'Hana no En' [The Festival of the Cherry Blossoms]).
Japanese: 桐壺帝/桐壺院（きりつぼてい・きりつぼのみかど／きりつぼいん）は、『源氏物語』に登場する一番目の帝（在位「桐壺」～「花宴」）。
English: He favored Kiritsubo no koi, ignoring other powerful wives, and before long Genji was born, but anxieties made her sick, and she died of disease.
Japanese: 他の有力な妃を差し置いて桐壺更衣を偏愛し、やがて源氏が誕生するが、更衣はその心労が祟って病死する。
English: Emperor Kiritsubo experienced so much deep grief that those around him could not look on with indifference, and encouraged him to have Fujitsubo (the fourth princess of the previous Emperor), who looked exactly like late Kiritsubo no koi, enter the Imperial court, and he favored her, making her the Empress when she gave birth to the tenth prince (later known as Emperor Reizei).
Japanese: 悲しみに暮れる桐壺帝を見かねた周囲のすすめにより、亡き桐壺更衣に瓜二つである藤壺（先帝の第四皇女）を入内させて寵愛し、第十皇子（後の冷泉帝）を産んだのを機に中宮に据えた。
English: In fact, Emperor Reizei was an illicit child between Hikaru Genji and Fujitsubo, but it is not told in the tale whether Emperor Kiritsubo knew that.
Japanese: なお冷泉帝は、実は光源氏と藤壺との不義の子であるが、桐壺帝がそのことを知っていたかどうかは作中では語られない。
English: The novel has a detailed and delicate descriptive style and is regarded as one of the masterpieces representative of modern Japanese literature.
Japanese: 精緻な文体で記述され、日本近代文学を代表する傑作の一つと見なされる。
English: The author himself said that he based the subject matter of his novel on actual events and made a 'false confession', and this statement especially fits this work.
Japanese: 現実の事件を題材にとり、「偽の告白」をする、というふうに本人が述べているが、このことは特に本作品に当てはまる。
English: The author looked for inspiration for his novel in an incident of arson at the Kinkaku-ji Temple and described the 'I', Yoken HAYASHI, as one obsessed by the beauty of the Rokuon-ji Temple.
Japanese: 金閣寺放火事件に材を求め、鹿苑寺の美にとりつかれた「私」こと林養賢を描く。
English: Yoken could not effectively express his thoughts and feelings due to his stammer, and felt there to be large mental barrier between himself and his peers, the contemporary militaristic young men and women during World War II.
Japanese: 養賢は、吃音のため自己の意思や感情の表現ができず、戦前当時の軍国的な若者たち、同年代の女性たちと自分とのあいだに精神的な高い壁を感じていた。
English: Although Yoken had no physical disability except his stammer, that alone caused him to live out his youth giving up all of his hopefulness and love.
Japanese: 養賢には吃音以外、身体に何の障害も無かったのだが、それだけのために青春期らしき明るさも恋愛もすべて抛棄して生きていた。
English: In his father's stories, the Kinkaku was always described as a thing of flawless beauty, and every time Yoken dreamed of the Kinkaku-ji Temple, he visualized it as the finest beauty in this world.
Japanese: その話の金閣は、常に完璧な美としての金閣であり、養賢は金閣寺を夢想しながら地上最高の美として思い描いていた。
English: Later, following the advice of his father who was a Buddhist monk and had been in poor health, Yoken entered the Kinkaku-ji Temple and began his learning under the chief priest who was an acquaintance of his father during his own Buddhist training.
Japanese: やがて養賢は、僧侶で病弱であった父の勧めで、父の修業時代の知人が住職を務めていた金閣寺に入り、修行の生活を始める。
English: At the same time, he began to study at a college mainly for Buddhist trainees, and there, he met Kashiwagi, a classmate who walked on crutches due to his club foot and always lingered in the corner of the classroom, as well as Tsurukawa, who he believed had a heart of gold.
Japanese: 同時に仏教系の大学に通い始めるのだが、そこで足に内反足の障害をもち松葉杖をつきながら移動する、いつも教室の片隅でひっそりとたたずんでいる級友柏木と、美しい心を持っていると信じた鶴川に出会う。
English: Superimposing his own stammer on Kashiwagi's easily recognizable disability, Yoken talked to him hoping to become casual friends.
Japanese: 一見した柏木の障害に自分の吃音を重ね合わせ、僅かな友人を求めるべく話しかけた養賢だった。
English: However, Kashiwagi was, in fact, excellent at handling women like a swindler and seduced upper-class women one after another.
Japanese: が、かれは実は女性を扱うことにかけては詐欺師的な巧みさを持ち、高い階層の女性を次々と籠絡している男であった。
English: At first, Yoken found Kashiwagi to be completely incomprehensible; a man who had overcame his disability despite being cynical about it; and moreover, took advantage of his disability to lead a brazen life by repeatedly putting others under his sway, knowing exactly what he was doing all along.
Japanese: 障害を斜に構えつつも克服し、それどころか利用さえして確信犯的に他人への心の揺さぶりを重ねることでふてぶてしく生きる柏木の姿を、当初は全く理解し難いと思っていた養賢だった。
English: Kashiwagi's comments toward Yoken were always so sharp and cruel that he felt like his heart was being cut out, and he always scorned and ridiculed Yoken's vacillation and cowardice.
Japanese: 柏木の養賢への批評はいつも心臓を抉り出す様に残酷で鋭く、養賢の心の揺れや卑怯を常に蔑み、突き飛ばすものであった。
English: Somehow though, Yoken was adding a new page to the days of his youth by being introduced to a woman through Kashiwagi as well as learning from him how to play the bamboo flute.
Japanese: 養賢は、そんな柏木から女性を紹介されたり、笛を教えて貰うことで曲がりなりにも若い自分の人生の一ページを刻んでいた。
English: Another friend, Tsurukawa, ended his life by committing suicide before opening up to Yoken.
Japanese: もう一人の友人の鶴川は、養賢に対し本心を開かないまま自殺して人生を閉じる。
English: On the other hand, at first, at the temple Yoken was the chief priest's favorite, although he did not know why.
Japanese: 一方、寺での養賢は当初、理由は分からないが住職にかわいがられている存在であった。
English: However, Yoken did not share this desire, or rather, he did not understand such things in the first place or have any intention of meeting his mother's expectations.
Japanese: が、養賢にはそのような俗欲が無い、と言うよりも端から理解できず、そして母の期待に応える気持ちも無かった。
English: However, Yoken himself conclusively destroyed any hope for his future by ridiculing the chief priest after seeing him with his lover.
Japanese: が、養賢は住職が愛人といるのを偶然見かけた後、住職にそのことを揶揄することで、みずから決定的に将来の望みを断ち切った。
English: After completely abandoning his own future and bringing his reason for being in this world to naught, Yoken determined to set fire to the Kinkaku-ji Temple to fulfill his aesthetic ideals.
Japanese: 自己の将来を完全に断ち切り、世俗的な自分の存在理由を無にしてしまったその後、養賢は自己の美学を完遂すべく金閣寺の放火を決意する。
English: The 'Kinkakuji' is an assemblage of extremely beautiful sentences, and the whole work is filled with an artistic beauty and transiency that holds Kinkaku-ji Temple at its center.
Japanese: 作品「金閣寺」は、非常な美文の集合体のような作品であり、作品全体に金閣寺を支柱とした美術的な美しさと儚さに溢れている。
English: Although the Kinkaku-ji Temple itself was a human work, the behavior and feelings of mankind before it were full of sordidness and weakness.
Japanese: 金閣寺は、それが人間の作品であるにもかかわらず、その前における人間の行いや感情は汚さ、弱さに溢れていた。
English: The main character Yoken regarded the Kinkaku-ji Temple as a flawless, eternal and frail beauty, which, in fact, would not be surprising to see destroyed at any time, even though it had existed since the Muromachi period and seemed likely to last forever.
Japanese: 金閣寺を主人公の養賢は、はるか室町時代から続き永劫に続くと思われながらも、実はいつ破壊されるとも限らない完璧で永遠で儚い美として捉えていた。
English: And during his adversity and isolation, this idea became symbolized and entrenched in his mind as a thing of far stronger spiritual beauty than the actual Kinkaku.
Japanese: そしてその観念は自己の不遇と孤独のなかで実際の金閣よりも遙かに強力な、精神的な美として象徴化し固定化していた。
English: Although Yoken was, generally speaking, in his youth and was brimming with carnal desires, women took no notice of him.
Japanese: 一般として青春期で性欲も旺盛にあるはずの養賢だったが、女性にまったく相手にされなかった。
English: At the beginning, he identified the beauty of women with that of the Kinkaku, but he became convinced that the Kinkaku had a loftier value and recognized the worthlessness of his own sexual existence.
Japanese: 女性の美と金閣とを当初重ね合わせていたのだが、金閣が隔絶した価値を有することに確信し、性的な自己の存在を無価値化する。
English: In addition to this, in opposition to his mother's intentions, he himself did not have any hopes for his own future.
Japanese: また、自己の将来に対して母の思惑とは逆に、何の希望も描いていなかった。
English: It was not because of his despair but because it was as if hope itself was not part of his nature.
Japanese: 絶望ではなく希望というもの自体が、かれに生得的に存在しないようであった。
English: He himself leads the chief priest to dislike him and drives his own future into worthlessness.
Japanese: かれは、みずから住職に嫌われ自分自身の将来をも無価値に追い込んでゆく。
English: And his friend Tsurukawa, who Yoken thought of as a friend and was supposed to have a heart of gold, did not open his heart to Yoken after all.
Japanese: そして友人として、友人と思っていた美しい精神の持ち主であったはずの鶴川は、実は養賢には心を開かなかった。
English: Kashiwagi was, possibly, more of a critic who acted like a friend than a real friend.
Japanese: 柏木は、恐らく養賢にとって友人と言うよりも友人の様な批評家であった。
English: Despite them both standing at the same level as disabled people which limited their actions, he was overly strong.
Japanese: 障害者と自己を規定し行動に制限する養賢と同じ高さに立っていながらも逞し過ぎる存在であった。
English: To Yoken this meant that all his friends had disappeared due to Tsurukawa's having opened his heart only to Kashiwagi.
Japanese: 養賢にとって鶴川が柏木にしか心を開かなかったことにより、すべての友が消えたことになる。
English: Using this chain of events, the author describes the background in which the main character gradually, and without regret, gave up his existence in the real world, and transformed himself into having an existence in the spiritual world by relinquishing all that he was going to obtain: women, social status, his future and his friends.
Japanese: この一連の流れは、女性、社会的地位、未来、友をすべて失うことで、現実世界における自己に未練をなくし精神世界の存在に転化させ行くことになる背景が描かれている。
English: In addition to the background of Yoken himself, the historical background of this story was as follows: The period from the last years of World War II, through Japan's defeat, to directly after the war's end; the period in which the Japanese people's spiritual beauty was, in their consciousness, denied and trampled upon by the United States.
Japanese: 養賢個人の背景だけでなく、時代背景としては大戦末期から敗戦、戦後直後であり、日本人の精神的美が否定され、アメリカに蹂躙された意識の時代であった。
English: One day, a GI paid a visit to the Kinkaku-ji Temple with a pan-pan girl (Japanese prostitutes solicited by American soldiers during the occupation of Japan), who then started arguing for reasons unknown to Yoken.
Japanese: あるとき、米軍兵がパンパン（米軍兵相手の日本人売春婦）を連れて金閣寺を訪れ、理由は分からないが喧嘩を始めた。
English: The GI then hit her, made Yoken step on her for some reason and right after that, remained there anxiously close beside her.
Japanese: 彼女を殴り、なぜか養賢に踏ませ、しかもその直後に大事そうに寄り添って去ってゆく。
English: In such a period, Yoken was unable to build a sense of values about his own future and universality both due to the mental adversity caused by his disability, a stammer, which can occur to any individual in any period, and due to the instability of the time, when values were fluctuating drastically.
Japanese: その様な時代での養賢は、個体としていつの時代も普遍的にありうる吃音という障害からくる、精神的な不遇と、価値観が大きく変動する時代的な不安定さのなかで、自分の将来や普遍性に対して価値観を構築できなかった。
English: He simply found it critically important to put an end to the physical frailty of the complete beauty of the Kinkaku, and thereby make the Kinkaku perpetual in spiritual meaning by its disappearance, and make this idea a reality.
Japanese: ただ、完璧の美である金閣が、消失することで物理的な儚さを終わらせ、精神的において永遠であらしめることに重大な価値を見出し実行した。
English: Although it looks as if Mishima showed his animosity towards the spiritual death of Japan in the postwar period and cursed it in his work, he uses this rather as a motif and constructs a subtle and minute poetic work.
Japanese: 三島の戦後日本の精神的な死への憎悪と呪詛がこめられているように見えるが、どちらかといえば、憎悪と呪詛をモチーフとしながら、精緻な詩的作品を構築している。
English: His writing, which might be called impeccable, seems to consist entirely of beautiful sentences from the beginning to the end.
Japanese: 文章は終始美文のみで構成したかのような、完璧とも言える文体からなる。
English: The author predominately describes physical or imaginary visible beauty, while the spiritual beauty that an individual should have hardly appears in the story.
Japanese: 物理的、もしくは想像上の視覚的な美を主に表現し、個人のもつべき精神美は作中ではほとんど登場しない。
English: As an example, the narrator threw his knife and Calmotin (a soporific) away to try to carry on living at the end of the story.
Japanese: 一例として、終結部分で、「私」は生きようとして小刀とカルモチン（催眠剤）を投げ捨てている。
English: Tsutomu MINAKAMI also took interest in this incident and wrote the "Kinkaku Enjo" (Burning of the Kinkaku) and the "Gobancho Yugiriro" (District Five, Manor of Mists) (Shincho Bunko and other publishers).
Japanese: 水上勉も同事件を取り上げ、『金閣炎上』、『五番町夕霧楼』を出している（各新潮文庫ほか）。
English: Watsuji Rinrigaku is the name of the ethical theory developed by Tetsuro WATSUJI.
Japanese: 和辻倫理学（わつじりんりがく）は、和辻哲郎の展開した倫理学の体系を指す呼称。
English: The theory of ethics established by Watsuji was based on the study of the history of Japanese thought, and is a body of philosophy unique to the Japanese, together with Kitaro NISHIDA's Nishida philosophy.
Japanese: 日本思想史の研究を基盤に構築された和辻の倫理学の体系は、西田幾多郎の西田哲学と並び、日本人による独自の哲学体系であると言われる。
English: Watsuji's books on ethics can be roughly divided into two categories.
Japanese: 和辻の倫理学を主題とした著作群は、大ざっぱに言って二種の系統へと次のように分類することができる。
English: Books in this category refer to the philosophy of Heidegger and Kitaro NISHIDA and affirm the concept of 'connection' that is the universal basis of ethics.
Japanese: この系統では、ハイデッガーや西田幾多郎の哲学を参照しつつ、倫理の普遍的基礎とされる「間柄」概念が展開される。
English: In this category, he applied the concept of 'connection', described in books on theory, to the history of Japanese thought in an attempt to justify Japanese ethics within a specific context.
Japanese: この系統では、原理的著作群で展開された「間柄」という概念を日本思想史に応用し、具体的な文脈によって日本の倫理を正統化しようとする試みがなされている。
English: He diligently analyzed the texts covering the periods between the ancient "Kojiki", the "Nihonshoki" as well as the study of Japanese classical literature during the Edo Period with this method of interpretation.
Japanese: 『古事記』『日本書紀』から江戸の国学に至るまでのテクストが解釈学の手法を用いて丹念に分析される。
English: One characteristic of Watsuji Rinrigaku is that the two levels described above are blended together so that the ethics that were pursued as theory were harmonized with a specific history.
Japanese: 和辻倫理学の特色とは、以上に挙げた二つのレヴェルが渾然とからみ合い、原理的に探求された倫理学がそのまま具体的な歴史へと融合されてゆくところに求められるだろう。
English: Along with this characteristic is the concern that it will result in the statement that Japan is the most ethical community.
Japanese: その特色は同時に、日本こそがもっとも倫理的な共同体であるという主張へと直結する危険もはらんでいる。
English: In other words, the purpose of Watsuji Rinrigaku was to understand the true state of real life by way of interpretation rather than simply constructing a new concept.
Japanese: 言い換えれば、和辻倫理学は、観念構成ではなくして、現実人生の実態を解釈学的に理解することが目的であったと言えるだろう。
English: That is, Watsuji defined rinri (ethics) as 'the basis of existence of human community, or the law of human beings' (on "Rinrigaku").
Japanese: すなわち、和辻は倫理を「人間共同態の存在根柢すなわち人間存在の理法」(『倫理学』上)であると規定した。
English: Shomono is a general term for books of commentary on Chinese literary works created from the mid-Muromachi period to the early Edo period.
Japanese: 抄物（しょうもの）は、室町時代中期から江戸時代初期にかけて製作された、ある漢文作品に対する解説・註釈をむねとする書物の総称。
English: It is a written record of lectures or commentary written in the form of a lecture, organized to be understood easily while referring to various preceding commentaries.
Japanese: 先行する諸註釈を参照にしながら、わかりやすくまとめられた講義の筆録もしくは講義体の形式を借りた註釈書である。
English: Making the most of colloquial elements, they were written in kana (the Japanese syllabary), and are therefore of great value not only as commentary but also as a reference for studying the Japanese of the latter half of the medieval period.
Japanese: 口頭語的な要素を生かしつつ仮名書きであらわされることが多いため、註釈の内容のほかに中世後期の国語学的資料としての高い価値をも持つ。
English: Shomono can be classified into three groups: Notes for a lecture created by a speaker, a verbatim record which was written down by an attendant of a lecture, and book compilations of the preceding shomono.
Japanese: 抄物は、講義のために講師の製作する手控え形式のものと、講義の参加者がその内容を筆録した聞書形式のもの、さらに先行抄物を集大成した形式のものに大別することができる。
English: Actually, some records were not, in fact, "verbatim" but rather copies of a speaker's notes, also some notes refer to the preceding shomono, so their contents range widely.
Japanese: 実際には聞書であっても直接の筆録ではなく講師の手控えを引き写したものであったり、手控えであっても先行する抄物を参照しつつ作り上げられたものであったり、その内容は幅広い。
English: As a whole, most of the earliest shomono took the form of notes or verbatim records, as time passed, though, more and more complicated forms, as mentioned above, as well compiled books appeared.
Japanese: 概して言えば、初期の抄物は純粋な手控え・聞書の形式が多く、後期になるほど右に述べたような複雑な成立ちによるものや集大成形式のものが多くなる。
English: Also, due to the nature of commentary and explanation, it was common to see shomono which emulated the contents of previous compositions, in this way shomono differs from general literary works.
Japanese: また、註釈・解説としての性質上、先行の抄物の内容をそのまま踏襲することはしばしば見られ、この点において一般の文学作品などとは性質が異なる。