nntsuzu/KFTT huggingface dataset:
English: FUJIWARA no Moronaga, Daijo-daijin (Grand Minister) of the time, believing that there is no one in Japan who could play biwa as well as he could, left for China seeking for a master of biwa.
Japanese: 時の太政大臣藤原師長は、自分ほどの琵琶の名手はもはや日本にはいないと考え、琵琶の名手を求めて唐に旅立つ。
English: When Moronaga was playing biwa at the request of the master of a shioya (a cottage where salt is made in pans) who let him stay the night, suddenly rain began to fall and he was forced to stop playing.
Japanese: 師長が宿を借りた塩屋の主の求めに応じて琵琶を弾いていると、突然雨が降り出し、演奏は中断してしまう。
English: When Moronaga asked the master what it was for, the master replied: "So that I can listen to biwa quietly."
Japanese: 師長が「それは何の為か」と尋ねると、老人は「靜かに聴聞するため」と答えた。
English: Hearing this, Moronaga realized that the master knew biwa, and asked the master to play a piece.
Japanese: これを聞いた師長は、老人が琵琶の心得のある者と気がつき、一曲を所望する。
English: Listening to the elderly couple's admirable performance, Moronaga felt ashamed for having flattered himself to think that he was the best biwa player in Japan, and tried to sneak out of the shioya in secret, but the elderly couple stopped him.
Japanese: 老夫婦の見事な演奏を聴いた師長は、日本に自分ほどの琵琶の名手はいないと自惚れていたことを恥じ、塩屋をこっそり抜け出し帰ろうとするが、老夫婦に引き留められる。
English: The elderly couple revealed themselves saying that they were Emperor Murakami and Nashitsubo no nyogo (Lady Nashitsubo), and vanished into thin air.
Japanese: すると、自分たちは村上天皇と梨壷女御であると師長に正体を明かして、かき消すように消えてしまう。
English: Emperor Murakami's spirit apperaed and bestowed on Moronaga a famous biwa called Shishimaru, which the Dragon God was ordered to bring from his Palace.
Japanese: 村上天皇の霊が登場し、龍神に命じて琵琶の名器獅子丸を竜宮から持って来させて師長に授ける。
English: When Moronaga began playing biwa, eight great dragon kings joined him as supporting actors, and Emperor Murakami himself played an admirable piece of secret music, and danced haya-mai.
Japanese: 師長が琵琶を弾き始めると、八大龍王が助演者として加わり、村上天皇も自ら見事な秘曲を奏で、舞を舞う（早舞）。
English: Shoso is an repository for grain and property, and is placed in the public facilities, such as central and regional kanga (government office) and temples in the ritsuryo system (a system of centralized government based on the ritsuryo code).
Japanese: 正倉（しょうそう）とは、律令制において中央・地方の官衙や寺院など公的な施設に設置された穀物や財物を保管する倉庫のこと。
English: In the center, okura-sho (Ministry of the Treasury) had a shoso for soyocho (a tax system, corvee) and in the regions, at first, each gun (county) had shoso for shozei (the rice tax stored in provincial offices warehouse) administered by gunji (district managers).
Japanese: 中央においては、大蔵省に租庸調を納める正倉があり、地方では当初各郡に正税を納める正倉があり、郡司により管理運用されていた。
English: By sidewall structures, shoso are categorized into yagura (literally armour storage), kaku-kura, ita-gura (warehouse whose walls are boards), and doso (underground warehouse).
Japanese: 側壁の構造別では甲倉・各倉・板倉・丸木倉・土倉などに分けることができる。
English: Moreover, the warehouse with the sidewall lumber crossing at the four corners, is called azekura.
Japanese: なお、側壁に用いた木材が倉の四隅で交差する構造をした倉を校倉（あぜくら）と呼称する。
English: This warehouse structure is often used for yagura whose lumber for wall material is triangle structure, and later days, azekura and yagura were mixed up and the yagura structure warehouse is especially called azekura-zukuri style.
Japanese: これは壁材の木材が三角形構造をした甲倉において良く用いられ、後世には両者が混同されて甲倉構造をした倉庫を特に校倉造（あぜくらづくり）と呼ぶようになった。
English: In the large-scale shoso, multiple shoso were built in the section surrounded by walls.
Japanese: 大規模な正倉になると、一定の区画に複数の正倉が築かれて塀などで囲まれた区域が置かれることがあった。
English: Shosoin in Todai-ji Temple was originally composed of several azekura (the biggest azekura still exists as Shoso-in Treasure House.)
Japanese: 東大寺の正倉院も元々は数棟の校倉から成っていた（最大の校倉1棟が正倉院宝庫として現存している）。
English: Miwa Somen is a somen (Japanese fine noodles) produced in Miwa area centering around Sakurai City, Nara Prefecture, and it is a local special product of the area.
Japanese: 三輪素麺（みわそうめん）は、奈良県桜井市を中心とした三輪地方で生産されている素麺（そうめん）で、特産品となっている。
English: According to the legend, in 91 B.C. (the seventh year in Emperor Sujin's reign) Otatane no mikoto, who was the fifth descendant of Omononushi no mikoto, was appointed the great Shinto priest of Omiwa-jinja Shrine.
Japanese: 伝説では大和三輪で、紀元前91年（崇神天皇7年）、大物主命の五世の孫である、大田田根子命が大神神社の大神主に任ぜられた。
English: And it is said that somen was first produced by Tanenushi, the second son of Jugoinojo (Junior Fifth Rank, Upper Grade) Omiwa no ason Saikusa, who was the twelfth descendant of Otatane no mikoto.
Japanese: その十二世の孫である従五位上大神の朝臣狭井久佐の次男穀主が創めて作ったとされる。
English: Its characteristics are that it maintains firmness when it is boiled and it has a special firmness and smooth tasting on the tongue.
Japanese: 腰のしっかりした煮くずれしにくい独特の歯ごたえと舌ざわりの良さを特徴とする。
English: The somen aged for one year or longer is called "Hinemono" and the one aged for two years or longer called "Ohine," and they are prized for their rareness.
Japanese: 製造から1年以上寝かしたものを『古物（ひねもの）』、2年以上は『大古（おおひね）』と呼ばれ珍重される。
English: In Miwa, which has long history of producing somen, somen were classified into four categories based on their thinness, in the past.
Japanese: 伝統ある三輪では、昔はそうめんのランク（細さ）を上から、大きく4つに区分していた。
English: However, this classification has become unclear because other makers produce their own somen that are thinner than the ones mentioned above.
Japanese: しかし、最近は各メーカーで独自に作成するそうめんの方が細くなり、この区分は不明確となっている。
English: Usually Miwa Somen is roughly classified into two categories of Mizugaki vulgarly called Torii no Kinobi (golden belt of Torii (shrine gate)) and Homare, Torii no Kuroobi (black belt of Torii).
Japanese: 一般的には瑞垣（鳥居の金帯）、誉（鳥居の黒帯）という大まかな区分分けをされる。
English: Therefore, it would be better to think that producing thin somen that are available nowadays was made possible in modern times, when imported wheat became common to be used.
Japanese: このことから外麦が常態となった近現代で初めて今のような細さが実現できた、と考えるほうがよさそうである。
English: In terms of the thinness of the noodle, there are finest products called Shirahige and Hakuryu by Miwa-Somen Yamamoto CO., Ltd. or Soryu no Ito by IKERI CO., LTD. to seek the ultimate thinness.
Japanese: 細さでは三輪そうめん山本の白髪・白龍、あるいは池利の蒼流の糸など、細さを極限まで追求したこだわり麺もある。
English: However, Shirahige and Hakuryu is produced by OEM in Nagasaki Prefecture, so strictly speaking, they are not labeled as Miwa Somen.
Japanese: ただし白髪・白龍などは長崎県でOEM生産しており、厳密には三輪そうめんと表示されていない。
English: In July, 2002 the ministry of Agriculture, Forestry and Fisheries operated an on-the-spot inspection to the three major somen manufacturers on charge that they had sold the somen produced in Nagasaki Prefecture as "Miwa Somen" and instructed them to improve the situation.
Japanese: 2002年7月に大手の販売業者3社が長崎県産の素麺を『三輪そうめん』として販売していたとして、農水省の立入検査と改善の指導を受けている。
English: There are two brands of somen, which are the somen produced by companies based in Miwa, and the one controlled by Yamato Miwa Somen Industrial Cooperative Association.
Japanese: 三輪に本社を置く各企業が作るそうめんと、生産者の団体「大和三輪そうめん工業協同組合」が取り仕切るそうめんの2つがある。
English: To their practice, the association claimed that only the somen produced in Miwa can be called 'Miwa Somen.'
Japanese: この対応に対し、工業協同組合は三輪で作られたものでしか「三輪そうめん」と呼べないとした。
English: Also as the association, it asks each somen companies to buy the association's somen.
Japanese: また組合として各企業に工業組合のそうめんを仕入れるように依頼している。
English: Therefore, each somen company sells both its own brand somen and the one they bought from the association.
Japanese: そのため各メーカーは自社で作る三輪そうめんとともに、組合を通したそうめんも販売している。
English: The somen companies has stopped using the label of Miwa Somen if it is not produced in Miwa.
Japanese: メーカーは三輪での生産ではない場合、三輪そうめんとは表示しなくなった。
English: The major manufacturers make it a rule to bring water from Miwa when they produce somen in Nagasaki Prefecture.
Japanese: 大手メーカーでは長崎での生産の場合、水を三輪から持ち込むことにしている。
English: As the market price of somen produced in Nagasaki Prefecture was much cheaper than Miwa Somen, the somen produced in Nagasaki was habitually used as the stable supply of Miwa Somen.
Japanese: 長崎県産の素麺の市場価格が三輪と比較してずっと安価であったため、三輪素麺の安定供給のために常習的に使用していた。
English: Hikae yagura is Zamoto (leaders of theatrical companies) which took over the performance rights and ran the theaters on behalf of the playhouses (Hon yagura [the three licensed theaters, Edo Sanza]) authorized by the Edo bakufu (Japanese feudal government headed by a shogun) because the playhouses could not give any performance due to financial woes etc. in the Edo period.
Japanese: 控櫓（ひかえやぐら）とは、江戸時代に江戸幕府公認の芝居小屋（本櫓）が経営難などで興行が出来なくなった場合に、興行権を譲り受けて劇場運営を代行した座元のことである。
English: Only Edo Sanza (Nakamura-za Theater, Ichimura-za Theater and Morita-za Theater) were licensed to run Kabuki Theaters, and their Hikae yagura were Miyako-za Theater, Kiri-za Theater and Kawarazaki-za Theater respectively.
Japanese: 歌舞伎の経営は江戸三座だけに限って許可されていて、中村座には都座、市村座には桐座、森田座（のちの守田座）には河原崎座がそれぞれ控えていた。
English: It is said that the playhouses faced continued financial difficulties due to a series of fires and reconstruction activities in the Edo period.
Japanese: 江戸時代の芝居小屋は度重なった火災と再興のため、常に経営難だったという。
English: 和ぎ' means friendly and calm and is used mainly to describe the mentality and state or environment.
Japanese: 「和ぎ」とは、和やかであり穏やかであり、おもに心情や情勢に用いられる。
English: 凪' has the similar meaning to '和ぎ,' but today it often describes the calm state of the sea without wind and waves.
Japanese: 「凪」とは、和ぎと同意でもあるが、現在では、風が無く穏やかな波のない海の状態をさす場合が多い。
English: And the Chinese character used for '凪' is one of the few kokuji (Chinese characters invented in Japan) that describe the state that the wind has stopped.
Japanese: また、数少ない国字（和製漢字）であり風が止まっている状態をあらわしている。
English: 薙ぎ (nagi)' describes the state that a mountain has collapsed and is being flattened, or a flat field where grass and trees have been cut off.
Japanese: 「薙ぎ」とは、山が崩れ平らになりつつある状態や、草木を刈った平坦な野原をさす。
English: Also Shinto rituals of '薙' exist all over Japan, and it is considered a rite to calm down storms or strong winds in the inland areas.
Japanese: また薙の神事が日本各地にあり、内陸地方での嵐や大風を鎮める行為とされる。
English: There is a unusual letter '𡵢 (nagi)' for it which is a phonetic-equivalent character that comes from the meaning of collapsing.
Japanese: 珍しい文字では「𡵢（なぎ）」があり、崩れという意味から薙ぎの当て字である。
English: But the word nagi mostly indicates the things that are involved in Shinto and myths in Japan and the place of worship in the Ancient Shinto.
Japanese: だが、ほとんどが日本の神道や神話や、古神道における信仰の場所に、係わるものである。
English: Hiromogi is '南木 (nagi),' or '楠 (camphor tree),' and some shrines name it '南木 (nagi)' and enshrine it as shinboku.
Japanese: 南木（なぎ）楠（クスノキ）のことで、南木（なぎ）と名づけ神木として祀っている神社がある。
English: As the tree nagi is associated with '和ぎ (nagi: calmness), it is used as hiromogi (which means the branches and leaves as the yorishiro for Shinto rituals).
Japanese: ナギがなぎ（和ぎ）に通じることから、神籬（儀式の依り代としての枝葉の意）として使われる。
English: Chinese characters such as 蕩, 諾, 名杵, 那岐, 那芸 are used to describe 'nagi' of 'Izanagi,' Awanagi,' 'Tsuranagi' and 'Naginami.'
Japanese: 「イザナギ」・「アワナギ」・「ツラナギ」・「ナギナミ」の「なぎ」には、蕩・諾・名杵・那岐・那芸などの字が充てられる。
English: Besides the representation in Chinese characters mentioned above, many Chinese characters such as 奈義, 奈癸, 奈岐 and 名義, used to describe 'nagi,' and 'Nagi River' and 'Mt Nagi,' exist.
Japanese: 上記の漢字表記のほか、奈義・奈癸・奈岐・名義などの地名としての「なぎ」や様々な漢字表記の「なぎ川」や「なぎ山」が存在する。
English: Kotobuki Soga no Taimen (Soga Brother's Confrontation with the Enemy) (Chinese characters in orthographic style: 壽曾我對面) is a program of the Kabuki Kyogen (comic drama) theater.
Japanese: 寿曽我対面（ことぶきそがのたいめん、正字体：壽曾我對面）は歌舞伎狂言の演目。
English: It is also referred to as "Kichirei Kotobuki no Soga," as well as in abbreviated versions "Soga no Taimen" and "Taimen."
Japanese: 『吉例寿曽我』とも、また略して『曽我の対面』『対面』とも通称される。
English: Suketsune KUDO, who was a senior retainer of MINAMOTO no Yoritomo, is appointed as a general magistrate for Fuji no Makigari (Hunting session at Mt. Fuji), and there are daimyo (territorial lords), the courtesan Oiso no Tora, and Kewaizaka no shosho who came to celebrate at his mansion.
Japanese: 源頼朝の重臣工藤祐経は富士山の巻狩りの総奉行を仰せつけられることとなり、工藤の屋敷では大名や遊女大磯の虎、化粧坂の少将が祝いに駆け付けている。
English: They recognize them as the brothers SOGA no Juro and SOGA no Goro, the orphaned sons of Sukeyasu KAWAZU who was killed by Kudo in the past.
Japanese: 見れば、かつて工藤が討った河津祐泰の忘れ形見、曽我十郎・曽我五郎の兄弟であった。
English: Asahina calms down the brothers who are agitated to see the enemy who killed their father, and Kudo gives them a pass for the hunting ground, which is an identity card for the hunting session, and promises to see them again.
Japanese: 父の敵とはやる兄弟に朝比奈がなだめ、工藤は、巻狩りの身分証明書である狩場の切手を兄弟に与え双方再会を期して別れる。
English: Although it was originally premiered at the Nakamura-za theater in Edo in February 1676, ever since a tradition to perform the Soga Kyogen series for the new year's program was established during Kyoho era, it became the play to be performed as Kiri Kyogen (a single-act afterpiece), which was performed at the end of the multi-act historical play.
Japanese: もともと延宝4年（1676年）正月、江戸中村座で初演されたものであるが、享保期に江戸歌舞伎の正月興行に曽我狂言を行うしきたりができてから、最後の幕の「切狂言」に必ず演じられるようになった。
English: Since then, it has been performed as a festive play to celebrate the coming spring, and there are different versions, which is said to be as much as 1,000 versions, of various renditions.
Japanese: それ以降初春を寿ぐ祝祭劇として、更にさまざまな演出が行われるようになり、一千種ともいわれる派生型ができた。
English: The current script was organized by Mokuami KAWATAKE, and it is based on the performance of March, 1903.
Japanese: 現行の台本は河竹黙阿弥により整理され、明治36年（1903年）3月に上演されたものが行われている。
English: There used to be scenes which featured characters who are related to the Soga Kyogen series such as 'Tsuruoka ishidan no ba' and 'Kio hinka no ba,' but now the former is rarely performed and the latter is not performed at all.
Japanese: かつては「鶴岡石段の場」や「鬼王貧家の場」など曽我狂言に関係する人物を中心とする幕もあったが、「石段」はまれに上演される程度であり「鬼王貧家」は全く上演されない。
English: It is a stylistically beautiful play both from visual and musical points of view, as all the major characters of Kabuki appear on the stage such as Kudo as zato (leader of troupe), Juro as wagoto (the mediator), Goro as aragoto (the aggressive character), Asahina as the clown, Tora as tateoyama (the leading actor in a female role), Shosho as wakaoyama (the young actor in a female role), Hachiman as the enemy, and Omi as the leading male actor, and Kio as jitsugoto (the tragic character).
Japanese: 座頭の工藤・和事の十郎・荒事の五郎・道化役の朝比奈・立女形の虎・若女形の少将・敵役の八幡・立役の近江・実事の鬼王と、歌舞伎の役どころがほとんど勢ぞろいし、視覚的にも音楽的にも様式美にあふれた一幕である。
English: It is a play with a strong show aspect, and its various versions were performed every year during Edo period.
Japanese: レビュー形式の演目だけに江戸時代には毎年さまざまな演出が行われてきた。
English: According to Yasuji Toita, there was the 'Tsurigitsune syle' as well as the versions in which Kudo has the condition of Nyctalopia or a koto (a long Japanese zither with thirteen strings) is played with shoji (opaque sliding screens).
Japanese: 戸板康二によれば、「釣狐の型」や工藤が鳥目になったり、障子で琴を弾いたりするのがあった。
English: There was also a version called 'Yuki no Taimen' (Confrontation in Snow), which had the theme of the Sakuradamongai Incident ("Meisaku Kabuki Zenshu," vol. 13, Tokyo Sogen Shinsha, 1969).
Japanese: 桜田門外の変をとりこんだ「雪の対面」もあったという（『名作歌舞伎全集第13巻』東京創元新社、1969年）。
English: In the current version, Asahina is sometimes played by an actor of female roles as 'Maizuru, the sister of Kobayashi' depending on the availability of the actors.
Japanese: 現行では、出演俳優の都合上、朝比奈役を女形が「小林の妹・舞鶴」として出演することがある。
English: In Osaka, there was a time when Tamizo ONOUE the Third played MINAMOTO no Yoritomo as a guest actor for Tamizo's retirement performance.
Japanese: 大阪では尾上多見蔵(3代目)が源頼朝役で特別出演する演出があったが、これは多見蔵の引退興行のためであった。
English: There is a slight difference of staging between the Kanto and Kansai regions; in Kansai, Mount Fuji is seen in the distance between the fusuma sliding doors in the scene where Kudo talks about the last hour of the brothers' father.
Japanese: 関東と関西で多少の演出の違いがあり、工藤が兄弟の父の最期の様を語る件で背面の襖を開けて富士山の遠見を見せるのが関西のやり方である。
English: The poses at the curtain fall have auspicious names as follows; the standing pose of Kudo (Tsuru no mie or crane's pose), Juro, Goro, and Asahina's Fujisan no mie (pose of Mt. Fuji), and the prostration of Kio (Kame no mie or turtle's pose).
Japanese: 幕切れの見得は、工藤が立って鶴の見得、十郎、五郎、朝比奈が富士山の見得、鬼王が平伏して亀の見得とそれぞれ縁起物で名づけられている。
English: Kudo bows when he goes on the raised platform of the stage in order to pay respect to the licensed theatre during Edo period.
Japanese: 工藤が舞台の高座にあがるとき一礼するが、江戸時代の劇場の櫓芝居小屋に敬意を表する意味である。
English: Asahina's costumes and makeup as well as his special lines called 'Mosa kotoba' were originally the idea of Denkuro NAKAMURA the First, the Kabuki actor from the seventeenth century.
Japanese: 朝比奈の衣装、得意な隈や「モサ言葉」とばれる科白は17世紀の歌舞伎役者初代中村傳九郎が考案したものである。
English: The tradition passed on by word of mouth has it that when the movement of Goro's feet draws the pattern of mimasu (three squares), which is the crest of Danjuro ICHIKAWA, the movement of Juro's one foot draws an inward circle and the other foot draws an outward circle in response.
Japanese: 五郎の足の運びは市川團十郎の紋の三升を書くと、十郎の足の運びは片足を内輪にもう片足を外輪にすると、それぞれ口伝がある。
English: Goro's makeup, which is called "mukimi kuma," is the same makeup as Hanakawado Sukeroku in the play "Sukeroku;" this is because of the role setting in which Sukeroku is actually SOGA no Goro, therefore the makeup of the two must match.
Japanese: 五郎の隈は『むきみ隈』とよばれ『助六』の花川戸助六と同じであるが、助六は実は曽我五郎という役どころであるので一致しなければならないのである。
English: When the brothers come on stage, narabi daimyo (the actors who dressed as daimyo and sit among the audience) call out 'Arya, Korya, Dekee (Dokkoi).'
Japanese: 兄弟が登場するとき、舞台の並び大名が「アーリャ・コーリャ・デッケエ（ドッコイ）」という化粧声をかける。
English: Kudo is generally played by the leader of the troupe or someone of the equal status, and although the role does not require much movement, it is required that the actor has a presence which overpowers that of other actors.
Japanese: 工藤は座頭級の役者が受け持ち、動きこそ少ないが、他の役者を圧倒するだけの貫禄を持つことが求められる。
English: Among the actors who played Kudo in the past and recently, Utaemon NAKAMURA the Fifth and Kizaemon KATAOKA the Thirteenth, despite his physical difficulty, were famous for their exquisite presences on stage.
Japanese: 古くは中村歌右衛門(5代目)、近年では片岡仁左衛門(13代目)が、不自由な身体ながらも抜群の存在感を示していた。
English: ….it is not expressed through the movements, but through his dignity only.'
Japanese: ・・・仕所と云ってはなく、全く位で見せる役とでも云ったらよいでしょう」と語っている
English: For the performance of March 1903, Kudo was played by Danjuro ICHIKAWA the Nineth, Goro was played by the young Kikugoro ONOUE the Sixth, Juro was played by Baiko ONOUE the Sixth, and Hachiman was played by Hikosaburo BANDO the Sixth.
Japanese: 明治36年3月の上演の際は、九代目市川團十郎の工藤に、若き日の六代目尾上菊五郎と六代目尾上梅幸、六代目坂東彦三郎がそれぞれ五郎、十郎、八幡を演じた。
English: Danjuro's intention was to cheer up the three actors who had just lost their father Kikugoro ONOUE the Fifth in February.
Japanese: この上演には、2月に父五代目菊五郎を亡くした三人の遺児を引き立てる團十郎の意思が働いていた。
English: For the stage announcement, Danjuro asked the audience for 'their favor and patronage for the weak and the orphaned,' and during the play when he says Kudo's line 'I wonder, your faces, who did you take them after?,' it is said he had tears in his eyes.
Japanese: 團十郎は口上でも「弱きを助け孤独を哀れむ皆様方のお引き立てを」と述べ、劇中の工藤の台詞「その面差し、ハテ誰やらに似たわ、似たわ」のときには團十郎の眼に涙が光っていたという。
English: According to "Konjaku Hyakki Shui (Ancient and Modern Gleanings of the Hundred)" written by Sekien TORIYAMA (see the right picture), Kosamebo appears on a drizzling rainy night in Mt. Omine, the sacred mountain of Shugendo (Japanese mountain asceticism-shamanism incorporating Shinto and Buddhist concepts) and Mt. Yamato Katsuragi, and begs practitioners of Shugendo for food.
Japanese: 江戸時代の浮世絵師、鳥山石燕が著した『今昔百鬼拾遺』（右画）によると、「小雨坊ハ　雨そぼふる夜、大みねかつらぎの山中に徘徊して斉料をこふとなん」とあり、雨の夜に修験道の霊山・大峰山や大和葛城山山中に現れては、行者に物乞いをするとある。
English: According to "Tohoku Kaidan no Tabi (Trip to the scary stories in Tohoku region)" by Norio YAMADA, a Kosamebo begged a traveler for some millets on a rainy day in 1671 on a kaido (main road) deep in the mountains in Tsugaru region.
Japanese: 山田野理夫の著書『東北怪談の旅』では、寛文11年に雨の降る津軽地方街道の山中で、小雨坊なる者が旅人に粟をねだったとある。
English: The recent books on specters sometimes use the illustration based on Sekien's picture and the caption is added that Kosamebo is a specter that begs for travelers for millets.
Japanese: 近年の妖怪関連の文献では石燕の画をもとにしたイラストを挿絵とし、旅人から粟をねだる妖怪として小雨坊が解説されていることがある。
English: However, Kosamebo in "Tohoku Kaidan no Tabi" is in Aomori Prefecture, and it is said that it has nothing to do with Kosamebo in Mt. Omine and Katsuragi (Kinki region).
Japanese: だが、『東北怪談の旅』の小雨坊は青森県の話であり、大峰山や葛城山（近畿地方）の妖怪として石燕の描いた小雨坊とは無関係とされる。
English: Tsukigase Bairin refers to the plum grove located at Mt. Tsukigaseoyama and its surrounding areas (former Tsukigase Village, Soekami County) in Nara City, Nara Prefecture.
Japanese: 月ヶ瀬梅林（つきがせばいりん）は奈良県奈良市月ヶ瀬尾山とその周辺（旧添上郡月ヶ瀬村）に位置する梅林である。
English: Tsukigase Bairin is situated to the north of the Yamato highlands which lie between the Nara Basin and the Iga Basin, close to the borders of three prefectures of Kyoto, Mie and Nara.
Japanese: 月ヶ瀬梅林は奈良盆地と伊賀盆地の境に広がる大和高原の北側、京都府・三重県・奈良府県境付近に位置する。
English: It is about 30 kilometers east of the center of Nara City and about 12 kilometers southwest of the center of Iga City, Mie Prefecture.
Japanese: 奈良市中心部からは東に約30キロメートル、三重県伊賀市中心部からは南西に約12キロメートルの距離にある。
English: The valleys of Nabari-gawa River of Kizu-gawa River system (Kyoto Prefecture) stretches around the prefectural borders on the north of the Yamato highlands.
Japanese: 大和高原北側の府県境付近は木津川(京都府)水系名張川の渓谷が続いている。
English: The lower reach of Nabari-gawa River, where Tsukigase Bairin is situated, is called Satsuki River, and a deep V-shaped valley is formed there.
Japanese: 特に月ヶ瀬梅林のある名張川下流域は五月川と呼ばれ、深いV字谷を形成している。
English: Although the magnificent mountain streams, after which 'Tsukigase Baikei' was named, were submerged under water when Takayama Dam was built in 1969, in recent years the manmade Lake Tsukigase's waters and the plum groves have harmonized to create a new scenic view.
Japanese: 「月ヶ瀬梅渓」と呼ばれる所以となった雄大な渓流は高山ダムの完成（1969年）によりダム湖の底に沈んだが、近年はダム湖－月ヶ瀬湖の湖水と梅林が調和し、新たな景観を形成している。
English: Because it is situated on highlands, the plum trees in Tsukigase Bairin tend to reach full bloom around mid- to late March, half a month later than those in the center of Nara City.
Japanese: 高原の影響を受けるため、月ヶ瀬梅林に生育する梅の開花期は奈良市中心部よりも半月ほど遅れ、3月の中旬から下旬に満開となることが多い。
English: Until early Meiji period, Tsukigase Village had been the major producer of Ubai (a smoked young plum required to produce Safflower dyes), which contributed to the growing size of Tsukigase Bairin to gather more plums for Ubai.
Japanese: 明治時代に入る頃まで月ヶ瀬村は烏梅（若い梅の実の燻製。ベニバナ染料に必要な材料。）の一大生産地であり、月ヶ瀬梅林は烏梅の原料となる梅の実を収穫する用途で規模を拡大していった。
English: In the 20th century, as development of synthesized dyes reduced the production of Ubai to next to nil, Tsukigase Bairin shifted its focus to tourism and the production of plums for consumption.
Japanese: 20世紀に入ると合成染料の発達により、烏梅はほとんど生産されなくなったため、月ヶ瀬梅林は観光資源として利用や食用の青梅の栽培に軸足を移した。
English: As of 1950 when the Bairin was re-designated as a place of scenic beauty, the surface area of Tsukigase Bairin was registered as about 104 square kilometers with 3,108 plum trees in the entire former Tsukigase Village.
Japanese: 1950年の名勝再指定時に月瀬梅林として登録された梅林の規模は旧月ヶ瀬村全体で畑573筆、約10町3反8畝（約104平方キロメートル）、梅樹3108本である。
English: According to the summary of Tsukigase Baikei Hoshokai (association managing Tsukigase Baikei) from 1988, the number of plum trees under the hoshokai's protection is approximately 10,000, indicating that a huge number of unregistered plum trees are grown in the area.
Japanese: 1988年の月ヶ瀬梅渓保勝会概要によると、月ヶ瀬梅林保勝会管理対象の梅樹は約1万本とあり、名勝に登録されていない梅樹が相当数栽培されている。
English: Nara City, which has absorbed Tsukigase Village, was to conduct a thorough study on the Tsukigase Bairin in terms of its size and current waning situation, and to compile a 'Conservation and Management Plan' by 2007.
Japanese: 月ヶ瀬村を合併した奈良市は2007年までに梅林の規模や衰退状況等を正確に調査した上「保存管理計画」を取りまとめる予定である。
English: According to the 'Designated Statistics No. 26 "Census of Agriculture and Forestry,"' as of 2000 the former Tsukigase Village had approximately 5.6 hectares (56 sq.km) of agricultural plum fields managed by 21 farms.
Japanese: また「指定統計第26号『農林業センサス』」によると2000年の時点で旧月ヶ瀬村には約5.6ヘクタール（56km2）の農業用梅林が存在し、21戸の農家がウメを栽培しているとされる。
English: However, the records of the Census of Agriculture and Forestry do not indicate whether or not the plum-tree protection by Tsukigase Baikei Hoshokai extends to these agricultural plum fields.
Japanese: ただし、農林業センサスの記録からは月ヶ瀬梅渓保勝会の管理対象に農業用梅林が含まれるか否かは読み取れない。