nntsuzu/KFTT huggingface dataset:
English: Varieties of ingredients, or almost anything else, are cooked in Yosenabe: vegetables such as Chinese cabbage and Welsh onion; processed-soybean products (atsuage [thick fried tofu], yakidofu (grilled tofu), abura-age [deep-fried tofu]); fish-paste products (hanpen [a cake of ground fish combined with starch and steamed], chikuwa [fish sausage]); seafood such as prawn, fish, or shellfish; meat (beef, chicken, or pork); and mushrooms.
Japanese: 具材は、白菜や葱などの野菜類、大豆製品（厚揚げ、焼き豆腐、油揚げ）、練り物類（はんぺん、ちくわ）、エビや魚、貝などの魚介類、肉類（牛、鳥、豚）、キノコ類など、ほとんど何でもアリといってよい。
English: To finish it with noddles (Japanese wheat noodles and Chinese noodles) or rice is a standard procedure for some Yosenabe.
Japanese: 鍋の種類によっては、最後に麺類（うどん、ラーメン）あるいはご飯類を入れて締めとすることが定番になっている。
English: It can be tied easily regardless of the kind of obi and/or places, and it has a lot of variations.
Japanese: 結ぶ帯や、場を選ばず比較的手軽に結ぶことができる上、バリエーションも豊富。
English: At that time, keep minimum length for one tare and make 'hane' (wing) by another tare.
Japanese: このとき、片方の端（たれ）は必要最低限の長さをとっておき、もう一方の端（たれ）で「はね」を作る。
English: Make 'hane' by folding the longer tare in byobu-datami (accordion fold), fasten the another tare at the center of 'hane,' insert the rest into the obi fastened around the body, arrange the shape and move the knot to the back.
Japanese: 長いほうの端（たれ）を屏風畳み（山折り谷折りに交互に折って畳むこと）にして「はね」を作り、「はね」の中心の部分を逆側の端（たれ）で一巻きして余りを体に巻いた部分に挟み込み、形を整えて背中に結び目を回せば完成。
English: Its shape looks like a ribbon when completed, and young women generally make their 'hane' (left and right part of the ribbon shale) longer in general.
Japanese: 出来上がりはリボンのような形になり、一般に「はね」（リボン形の左右の部分）が長いほうが若い女性向き。
English: Shidare-bunko (the weeping style of bunko-musubi knot) : the one whose one 'tare' is long, and it is easy to tie and looks unique.
Japanese: しだれ文庫：片方の「たれ」のみを長くしたもの、簡単に結べて個性的に見える利点がある。
English: It has become very popular lately, and ribbons, guilloches and so on are often used with it.
Japanese: 近年非常に人気が出てきたものでリボンや組みひもなどと併用することも多い。
English: "Oni no ho" is a ho (round-necked robe worn by members of nobility and the imperial court) of sokutai (traditional ceremonial court dress) costume, worn by a crown prince in the rituals.
Japanese: 黄丹袍（おうにのほう）とは皇太子が儀式の際に着用する束帯装束の袍のことである。
English: It was named after the color 'oni,' which is obtained by dying a cloth with gardenia and safflower.
Japanese: この名前はクチナシ（くちなし）とベニバナ（べにばな）で染めた色名「黄丹」からである。
English: According to 'The Garment Code' of "Yoro Ritsuryo Code," oni was determined as the color of 'koromo' (robe) of crown prince's reifuku (formal dress used for choga [retainers' New Year's greeting to the emperor] and the enthronement ceremony) and chofuku (the original model of sokutai).
Japanese: 黄丹は、『養老律令』の「衣服令」において皇太子の礼服（朝賀と即位に使う正装）・朝服（のちの束帯の原型）の「衣」の色と規定されている。
English: While korozen no goho (a costume which an emperor puts on when he performs an important ritual), whose origin was shakoho (apricot-yellow robe made for the exclusive use of an emperor) of China, was imported in the early Heian period, the origin of oni no ho is earlier than that.
Japanese: 天皇の黄櫨染御袍が中国の赭黄袍を起源として平安時代初期に導入された（それ以前の天皇の袍は白色であったと推定されている）のに対し、黄丹色の日本での起源は、より古い。
English: Although the crown prince's reifuku was replaced by a red kushofuku in the early Heian period (after choga was abolished in the middle of the Heian period, the crown prince's reifuku fell into disuse), oni no ho was continuously used for chofuku and the use of the eno-maru (a design in which mandarin ducks form a circle) pattern became common practice.
Japanese: 平安時代前期には皇太子の礼服は赤色の九章服になったが（さらに朝賀の廃止された平安中期以降は、皇太子の礼服の着装例がない）、朝服においてはその後も使用され、文様も鴛鴦丸（えんおうまる）が使われることが一般化した。
English: The use of oni no ho was suspended in the Muromachi period when the investiture ceremony of the Crown Prince was suspended and the heir to the Imperial Throne ascended the throne from the status of imperial prince.
Japanese: 室町時代に至り、立太子が中絶し、皇位継承者は親王のままで即位することが一般化すると、黄丹袍は中絶した。
English: The investiture ceremony of the Crown Prince was revived in the Edo period, starting with that of Imperial Prince Tomohito (the Emperor Higashiyama).
Japanese: 江戸時代に至り、朝仁親王（東山天皇）の立太子以降皇太子の制度が復活する。
English: However, in the beginning, it seems that a costume of reddish-brown color called "akairo no ho" was used, and its fabrics still exist in some places.
Japanese: しかし、当初は赤色袍と称して、赤茶色の袍をもちいることがあったらしく、裂が各所に現存している。
English: Akairo no ho' of the crown prince is seen in "Daiki"and so on, but it is unknown whether it was the another name of oni no ho or another thing (in fact, shufutsu costume of kebiishi [officials with judicial and police power], whose color was orange similar to oni, was called 'aka ginu' [red robe]).
Japanese: なお皇太子の「赤色袍」は『台記』などにみえるが、黄丹の異名であったものか（黄丹に似たオレンジ色の検非違使の朱紱も平安中期以降は「赤衣」とよばれたという事実がある）、別のものであったものか不明である。
English: Since the time of Imperial Prince Tomohito, the crest of a mandarin duck (only male) sitting inside the flower-shaped frame has been stylized and never changed till now.
Japanese: 朝仁親王以来、紋は花形の枠に下向きになった鴛鴦（おしどり）一羽を収めた（鴛鴦とはいっても雄のみ）もので、定型化して現在まで変わっていない。
English: According to the regulations in the late early-modern times, in winter, both Yamashina and Takakura families of emon-do (traditional technique for dressing up ceremonial costume) tailor a hoeki no ho (robe with a round collar, stitched sides and a ran, worn by the emperor and high-ranking officials) after coming of age with yellow hiraginu silk for lining, while tailoring a ketteki no ho (open sleeve seams outer robe) before coming of age with oni silk, same color as lining.
Japanese: 近世後期の規定では、衣紋道（えもんどう）の山科家・高倉家ともに冬の場合、元服後の縫腋袍の仕立てのときは裏を黄平絹、元服前の闕腋袍の仕立てのときは裏を黄丹平絹の表裏同色とする。
English: The crests were lined up vertically and horizontally, and they were not staggered stepwise as the case of ordinary cloth of shozoku.
Japanese: 紋の配置は升目状に縦横一列に配して、普通の装束地のように一段ごとに紋の位置をずらすことはしない。
English: In the case of ketteki, crests of eno-maru are placed closely on the ground that it is the one for a minor (the size of crests were generally small and they were closely placed in the case of shozoku for the young).
Japanese: また闕腋のときは、未成年のゆえをもって鴛鴦丸が間を詰めて織られ（総じて装束では、若年ほど紋が小さく密である）る。
English: A kataji-aya fabric, a sanmai-aya fabric on which crests are arranged by a rokumai-aya fabric, was used as the material of ketteki for winter-use.
Japanese: また冬の生地は、未成年の闕腋であっても浮織にはせずに、三枚綾地に六枚綾で紋をあらわしたいわゆる固地綾である。
English: The above system basically continued to exist up to the recent times, but the crests were not placed so closely as in the early-modern times even in the case of ketteki.
Japanese: 近代においてもほぼこの制度を継承するが、紋の配置については、闕腋のときも近世ほど間を詰めていない。
English: A proposal to change eno-maru for tsuru-maru (the design of crane) was made before the investiture ceremony of Imperial Prince Hirohito (the Emperor Showa), but it was dismissed.
Japanese: また裕仁親王（昭和天皇）立太子に先立ち、鴛鴦丸を鶴丸に代える案が生じたが、却下されている。
English: "Futaeorimono" (or "Futabeorimono") is a fabric on which two kinds of patterns are arranged; the one is called 'jimon' (textile pattern), running patterns such as kikko (hexagonal pattern) and karakusa (arabesque) that spread over a fabric, and the other called 'uwamon,' patterns of marumon (round pattern) and kachomon (pattern of flowers and birds) which are woven with colored threads different from those of jimon and arranged at random.
Japanese: 二陪織物（ふたえおりもの、ふたべおりもの）は全面に亀甲や唐草などの連続紋を織り出して地紋とし、その上に「上紋（うわもん）」と称して丸文や花鳥文などを地とは別の色糸で飛び飛びに織り出したもの。
English: Usually, uwamon is woven with enuki (threads only used for making patterns and irrelevant to keii [the warp and the weft] for weaving a fabric) on the jimon of ukiorimono, a fabric with raised patterns that are woven by raising the weft like embroidery thread.
Japanese: 普通は、横糸を刺繍糸のように浮かせた浮織物の地紋に、絵緯（えぬき。織の組織に必要な経緯《たてよこ糸》とは無関係な、紋をあらわすだけに使う色糸）を使って上紋を浮織にする。
English: A fabric whose jimon and uwamon are both hard woven is called 'shizumeori' and distinguished from futaeorimono.
Japanese: 地紋上紋ともに堅織物にしたものは「沈め織」といって区別することもある。
English: Also, the one without jimon and has only patterns woven with enuki was called "karaorimono" after the Kamakura period.
Japanese: また地紋がなく、絵緯による紋だけをあらわしたものを鎌倉時代以降唐織物と呼んだ。
English: However, futaeorimono was often the target of sumptuary laws, and even regulations were issued to ban its use by not only nyobo but also the noble women.
Japanese: しかし、たびたび奢侈（しゃし）禁制の対象とされ、女房はもちろん、高貴な女性まで一切禁止という法令が出たこともあった。
English: Futaeorimono was used for women's karaginu (a waist length Chinese style jacket), omotegi (outer garment) and kouchigi (informal outer robe) as well as for boys' hakama (men's formal divided skirt) before genpuku (coming of age).
Japanese: 女性の唐衣や表着、小袿などのほか、元服前の男子の袴などに用いられている。
English: "Fuguruma-yobi" is a Japanese specter which appears in "Hyakki Tsurezure Bukuro"(The Bag of One Hundred Random Demons), a collection of paintings of specters drawn by Sekien TORIYAMA.
Japanese: 文車妖妃（ふぐるまようび）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: "Fuguruma" means a box cart which was used at the imperial palace or temples for carrying books in the event of emergency like an accidental fire.
Japanese: 文車（ふぐるま）とは、内裏や寺などで本を運ぶための箱車で、失火などの非常時に備えるもの。
English: A story in "Shokoku Hyaku Monogatari" (One Hundred Tales from Various Provinces), a collection of ghost stories compiled in the Edo period, tells that when a chigo (temple acolyte) received a love letter and threw it away, the feeling of obsession that the writer conveyed in the letter caused an ogre to appear and attack people.
Japanese: 江戸時代の怪談集『諸国百物語』には、ある寺の稚児が恋文を受け取り、それを捨てていたところ、恋文に込められた執念が鬼と化して人を襲ったという話がある.
English: In "Hyakki Tsurezure Bukuro," it was depicted as a baby ogre which appeared from a broken fuguruma or a woman who held it with an expression of grudge.
Japanese: 『百器徒然袋』には、壊れた文車から子鬼が出て来たり、それを持っていて恨んでいる顔をした女性として描かれている。
English: Sekien cited the sentences from "Tsurezuregusa"(Essays in Idleness) and so on in creating the specters drawn in "Hyakki Tsurezure Bukuro."
Japanese: また、石燕は『百器徒然袋』の妖怪の題材の多くに『徒然草』などの文章を使用している。
English: As a sentence 'fuguruma no fumi (books on a book cart) and chirizuka no chiri (the rubbish at dust heap) are not unsightly even though there are many or there is much' is seen in the chapter 72 of "Tsurezuregusa," some people say that fuguruma-yobi and chirizuka-kaio (the ghost king of the waste) were created based on the above-mentioned 'fuguruma no fumi' and 'chirizuka no chiri' respectively.
Japanese: 『徒然草』第72段に「多くて見苦しからぬは、文車の文、塵塚の塵」という一文があり、この「文車の文」から文車妖妃、「塵塚の塵」から塵塚怪王が創作されたとの説もある。
English: Bo-no-te is a traditional performing arts of classical Japanese dance, in which basic forms of Japanese martial arts such as sword, staff, and halberd techniques are transformed into dancing.
Japanese: 棒の手は、剣術、棒術、薙刀術など日本武術の形を踊りにした伝統芸能日本舞踊である。
English: Although the name "Bo-no-te" is popular, it is called differently in each region such as Tachiodori, Hanatoriodori, Bosasara, or Tachifuri.
Japanese: 名称は、棒の手が有名であるが、地域により異なり、太刀踊り、花取り踊り、棒ささら、太刀振り　などの名前がみられる。
English: In some regions, "Bojutsu" (staff technique), a name of martial arts, is straightfowardly used.
Japanese: また、地域によっては武術の名称である棒術をそのまま使っている例もある。
English: The Bo-no-te tradition is alive particularly in the following regions: Owari-Asahi City, Aichi Prefecture; Nagakute-cho, Aichi-gun, Aichi Prfecture; Toyota City; Fukaya City, Saitama Prefecture; Kimitsu City, Chiba Prefecture; Gokase-cho, Miyazaki Prefecture.
Japanese: 有名な地域に、愛知県尾張旭市、愛知郡(愛知県)長久手町、豊田市、埼玉県深谷市、千葉県君津市、宮崎県の五ヶ瀬町などがある。
English: Some of the schools practiced Bo-no-te as actual martial arts through the Taisho period to the beginning of the Showa period; they almost remain as authentic schools of traditional martial arts without taking the form of entertainment.
Japanese: 大正、昭和初めまで武術として稽古されていて、いまだ芸能化せず、ほぼ武術の流派そのままで伝わっている流派もある。
English: Karyobin is a piece of Gagaku (ancient Japanese court dance and music), and one of 'Rinyu hachigaku' (eight old gagaku pieces from Vietnam).
Japanese: 迦陵頻（かりょうびん）とは、雅楽の演目で、「林邑八楽」（りんゆうはちがく）の一つ。
English: The title of this music is derived from a sacred bird called "Karyobinga," which has a human face and bird's body with a beautiful voice, living in paradise.
Japanese: 演目名は極楽浄土に住むという人面鳥身で美声を持つ霊鳥迦陵頻伽に由来している。
English: Probably, it was introduced from China and originally composed in Rinyu style (Vietnamese music); later, it was performed in the key of Ichikotsu (which closely corresponds to D major in Western music).
Japanese: 中国から渡来した曲目で、元林邑調であったが、後には壱越調で舞うようになったらしい。
English: This piece was also used for music entertainment; however, as its name suggests, it was mainly played as Bugaku (dance and music) in Buddhist events.
Japanese: 管絃の遊びにも用いられたが名前の由来からもわかるように、仏教行事の舞楽として多く奏された。
English: This piece is also called 'Tori' (bird) when is arranged for wind and string music in the key of So (which closely corresponds to G major in Western music) or the key of Oshiki (which closely corresponds to A minor in Western music).
Japanese: 管絃向けに双調、黄鐘調に編曲されたものを「鳥」という曲名で呼ぶこともある。
English: Dancers wear plain silk white hakama (loose-legged pleated trousers) and long-tailed, red-colored silk gauzy outer robes with a scattered pattern of little birds, holding Dobyoshi (two circular cymbals made of copper or iron) in their hands.
Japanese: 平絹白地の袴の上に、赤系統の地色に小鳥を散らした尻長の紗の袍を着て、手には銅拍子（小型のシンバルのような道具）を持つ。
English: Dancers also put leg guards shaped like gaiters, called "Toriashi" (鳥足) and wear Shigai (silk shoes); they put wings on their backs and breast pads on their breasts, made of whitewashed leather or multilayered Japanese paper on which drawings of wings in red and aquamarine ink are made.
Japanese: 足には脚伴の形をした鳥足というすね当てをつけて絲鞋を履き、背と胸に、牛革、又は重ね貼りした和紙に胡粉を引き紅や緑青で羽を描いた翼と胸当てをつける。
English: They wear gold-plated crowns with an arabesque design on their heads (in Gagaku, dancers put mountain shape tiaras on their forehead and metal headbands with two sword-shaped ornaments on their temporal region), and stick two sprays of cherry blossoms under each crown.
Japanese: 頭に鍍金した唐草模様の宝冠（雅楽では、山形の額飾りと側頭部に二本の剣形の飾りを備えた金属製のヘッドバンドを指す）をつけ、二本の桜の枝をはさむ。
English: Generally, dancers put on heavy makeup with white powder like Chigo (child of festivity); however, in some cases, they wear no or light makeup.
Japanese: 化粧は稚児と同様の白塗りの厚化粧が原則となるが、しない場合や薄化粧の場合もある。
English: In ancient times, children in these costumes rowed a boat at feasts.
Japanese: この衣装をつけさせた童子に宴会の際の舟を漕がせることなども行われていたらしい。
English: Thirty-six Views of Mt. Fuji is a notable example of a landscape painting or Ukiyoe (Japanese woodblock prints) created by Hokusai KATSUSHIKA.
Japanese: 冨嶽三十六景（ふがくさんじゅうろっけい）は、葛飾北斎の作成した代表的な風景画・浮世絵である。
English: It is said that the creation of the first edition was begun in 1823, and published from 1831 to 1835.
Japanese: 初版は1823年（文政6年）頃より作成が始まり、1831年（天保2年）頃から1835年（同4年）頃にかけて刊行されたと考えられている。
English: Borrowing the technique of Western-style painting, it was drawn in perspective, and printed with Persian blue ink called "Bero ai," which was popular in use at that time; these are the features of this work.
Japanese: また西洋画法を取りいれ、遠近法が活用されている事、当時流行していた“ベロ藍”ことプルシャンブルーを用いて摺ったことも特色である。
English: The landscape Ukiyoe picture was called 'Meishoe' in those days; this series was such a great commercial success that Meishoe was defined as a new genre along with Yakushae (a print of a Kabuki actor) and Bijinga (a type of Ukiyoe portraying beautiful women).
Japanese: 浮世絵の風景画は当時「名所絵」と呼ばれており、このシリーズの商業的成功により、名所絵が役者絵や美人画と並ぶジャンルとして確立したと言える。
English: Some of these prints have Mt. Fuji filling the whole picture space as in 'Gaifu kaisei' (South Wind, Clear Sky [also known as Red Fuji]) or 'Sanka hakuu' (Rainstorm Beneath the Summit); others have distant views of Mt. Fuji as in 'Kanagawa oki namiura' (The Great Wave off Kanagawa) or 'Koshu Isawa no Akatsuki' (Dawn at Isawa in Kai Province); in this way, this series vividly portrays not only various scenery of Mt. Fuji in the four seasons and in different places but also daily lives of local people.
Japanese: 「凱風快晴」や「山下白雨」のように、富士山を画面いっぱいに描いた作品から、「神奈川沖浪裏」や「甲州伊沢暁」のように遠景に配したものまであり、四季や地域ごとに多彩な富士山のみならず、各地での人々の営みも生き生きと描写している。
English: It had a profound influence on Japanese artists as well as foreign artists such as Vincent Van Gogh or Claude Debussy.
Japanese: 日本のみならず、フィンセント・ファン・ゴッホやクロード・ドビュッシーなど、世界の芸術家にも大きな影響を与えた。
English: As its name suggests, this series was supposed to be completed with the original thirty-six at first; however, because of its popularity, ten more were added, and it came to forty-six in total.
Japanese: 当初は名前の通り、主版の36枚で終結する予定であったが、作品が人気を集めたため追加で10枚が発表され、計46枚になった。
English: The most representative of these are 'Gaifu kaisei' portraying Red Fuji and 'Kanagawa oki namiura' drawing Mt. Fuji with boats tossed about by a large wave.
Japanese: 下記の内、代表的な作品として知られるものには、赤富士を描いた「凱風快晴」、巨大な波と舟の中に富士を描いた「神奈川沖浪裏」などがある。
English: In the past, the term 'Musume-gidayu (girl gidayu reciter)' was typically used, because Gidayu-bushi was recited by young females.
Japanese: 若い女性によって語られることから「娘義太夫（むすめぎだゆう）」という呼び方がかつては一般的であった。
English: These days, the term 'Joryu-gidayu' (also meaning "female gidayu reciter") is typically used.
Japanese: 現在では、「女流義太夫（じょりゅうぎだゆう）」という呼び方がもっとも一般的である。
English: The term 'Onna-gidayu' is listed in "Encyclopedia of Theatrical Arts (published by Heibon-sha)" or in "Kokushi Daijiten (Great Dictionary of National History)" (published by Yoshikawa Kobunkan), for example, but during the twenty-first century, the term 'Joryu-gidayu' is generally used.
Japanese: 「女義太夫」という呼び方は、たとえば『演劇百科辞典』（平凡社）や『国史大辞典』（吉川弘文館）で「女義太夫」として立項されているが、21世紀に入ってからは「女流義太夫」が一般的である。
English: Depending on the program, more than one tayu and more than one shamisen player participate, and sometimes So (a long Japanese zither with thirteen strings) is played as well.
Japanese: 番組によっては、太夫と三味線も複数になることがあり、ほかに箏が加わることもある。
English: The shamisen used in Gidayu is the largest of those called Futozao ("broad-neck" shamisen), and its range of sounds is lower.
Japanese: 娘義太夫での三味線は、太棹と呼ばれる三味線のなかでもっとも大型で、かつ音域が低いものが用いられる。
English: The players wear white costumes in summer, and in winter both the tayu and shamisen player wear white Japanese attire with short, sleeveless garments made of hemp and pleated and divided skirts made in narrow strips.
Japanese: 衣装は、夏は白、冬は白の着物に、大夫/三味線ともに揃いの肩衣と袴をつけておこなう。
English: Su-joruri' is a style of 'pure joruri' performance without the accompaniment of puppets or kabuki.
Japanese: 「素浄瑠璃」は、人形/歌舞伎などが伴わない「浄瑠璃」の演奏形態である。
English: To put it simply, pure joruri is vocal music that emphasizes stories and can be called a kind of narrative in which, concerning a story, the characters' words, background explanations, depictions of scenes and psychological descriptions are all expressed vocally.
Japanese: 浄瑠璃とは、簡単にいえば、物語性を重視した声楽で、複数の登場人物の詞（ことば）、背景説明、情景描写、心理描写などをすべて表現する「語りもの」である。
English: One could ask how Dan-ryu (gidayu performed by males) is called corresponding to Jo-ryu (gidayu performed by females), and the so-called 'Bunraku' which has recently been registered as a World Heritage will be the answer.
Japanese: 女流に対して、男流はなんという？との疑問が予想されるが、演奏団体としては、近年世界遺産に登録された「文楽」（通称）がある。
English: Females came to narrate Gidayu in the early nineteenth century, during the latter half of the Edo period, but such plays by females declined after the Tenpo reforms by Tadakuni MIZUNO prohibited females from working as entertainers.
Japanese: 女性による義太夫語りは、江戸後期の文化(元号)文政ごろからおこなわれていたが、水野忠邦の天保の改革で女芸人が禁止されると廃れていった。
English: However, in and after the movements to change cultural policies in the Meiji Restoration, females became able to work as entertainers legally, based on the regulation for controlling yose (rakugo theatres) established in 1877.
Japanese: しかし、明治維新以降の文化政策の改変のなかで、1877年の寄席取締規則によって女性の芸人が法的にも認められるようになる。
English: During the latter half of the Meiji period, Rosho TOYOTAKE in Osaka and Ayanosuke TAKEMOTO in Tokyo gained unprecedented popularity, nearly equaling that of kabuki in the entertainment world.
Japanese: いわゆる明治時代の後半期になると、大阪では豊竹呂昇、東京では竹本綾之助が空前の人気を博し、芸能での人気を歌舞伎と二分するほどになった。
English: At that time, when musume-gidayu's Japanese coiffure became disheveled due to her enthusiastic performance and the story entered the most interesting part, spectators such as students would call out loud, 'Dosuru (How do you do your hair?), Dosuru (How do you do your hair?).'
Japanese: 当時、娘義太夫の日本髪が熱演のあまり乱れ、内容が佳境にさしかかると、客席のいる書生らの熱心な見物から、「どうする、どうする」と声がかかった。
English: Some spectators are said to have been so enthusiastic that they would clap their hands and make noise by rubbing the backs of bowls against each other.
Japanese: 特に激しい者は手拍子を打ち、茶碗の底を擦り合わせて騒ぐほど熱狂したという。
English: The socialists would sometimes enjoy performances of musume-gidayu as a form of entertainment at their meetings.
Japanese: 社会主義者らの集会などでも、余興として娘義太夫を楽しむといったことがあった。
English: For example, in the article titled 'A Tea Party of the Japan Socialist Party' included in No. 11, Volume 1 of "Hikari" (Light) in April, 1906, it is reported '... when a talk ended, a musume-gidayu... as an entertainment...'
Japanese: たとえば『光』第1巻第11号（1906年4月）に掲載の「日本社会党茶話会」という記事中に、「……談終るや余興として某嬢の義太夫、……」といった報告がみられる。
English: Nowadays, recitations by joryu-gidayu can be enjoyed in various venues in addition to the performances held regularly at National Engei Hall and in Hirokoji-tei, and the base of fans and supporters has gradually expanded.
Japanese: 現在では、国立演芸場や広小路亭で定期的に開催される女流義太夫演奏会をはじめ、さまざまな機会で女流義太夫を聴くことができ、ファン・支持者の裾野も徐々にではあるが広がりつつある。
English: Additionally, joryu-gidayu perform such activities as participating in the Jishibai (local kabuki) where sufficient numbers of joruri performers aren't available, or as cooperating in the reconstruction of the Jishibai, whose performances had been stopped.
Japanese: また、浄瑠璃の担当者が不足している地芝居に参加したり、一度上演が途絶えた地芝居の再興に協力する等の活動もおこなっている。
English: Ushi KITANO, the grandmother of Beat Takeshi, was a musume-gidayu called Yaeko TAKEMOTO.
Japanese: ビートたけしの祖母である北野うしは、竹本八重子という娘義太夫であった。
English: There are two kinds of chasen-mage, namely the one which was popular among men around the Azuchi-Momoyama period and another worn by women in the Edo period.
Japanese: 安土桃山時代の前後に男性の間で流行したものと、江戸時代の夫人が行ったもののふたつがある。
English: As it was a mage for young men, it was done up, while leaving bangs as they were, through the process of either making a very narrow sakayaki (shaved part of the forehead) or not making it, tying the hair of the back of the head utilizing a flat braid and loosening the tip of hair.
Japanese: 青少年に行われる髷なので前髪は残して、月代は剃らないか極狭く、後頭部の髪を取って平打紐などで巻き立てて毛先を散らす。
English: Sakayaki became wider over time, and a hairstyle that has wide sakayaki with bangs been cut off is the hairstyle of so-called 'Baka Tono' (parody of a feudal lord).
Japanese: 時代が新しくなると月代も広くとるようになるが、これで前髪を落としたのがいわゆる「バカ殿」の髪型といえば分かりやすいだろう。
English: Though the above is exaggerated since it is a mage of a comedy character, there seems to have been some disgraceful young feudal lords who actually wore such a hairstyle.
Japanese: コントの鬘なので巻き立てはかなり誇張されているものの、実際に身分をわきまえない派手好きの若殿などに結うものがいたらしい。
English: Here it may remind you of Kipposhi ODA (Nobunaga ODA in his youth) who was dubbed as 'Owari's Great Fool.'
Japanese: ここまで言うと思い出されるのが、「尾張の大うつけ」こと織田吉法師（若き日の織田信長）である。
English: Along with hanbakama (short hakama) made of leopard pelt and an obi (sash) like a rope of monkey trainer, chasen-mage (hairstyle like a tea whisk) that was made up high with a light green flat braid were the elements of his bizarre appearance.
Japanese: 彼の異様な風体には豹皮の半袴や、猿回しのような縄の帯などに加えて、萌黄の平打紐で高々と巻きたてた茶筅髷が数えられている。
English: Young men who lived in idleness wearing peculiar clothes like those of Nobunaga called themselves 'kabukimono' (the eccentric), and they competed each other the eccentricity of their costumes and performances.
Japanese: 信長のように異様な姿をして遊びまわる若者達は自らを「傾き者」と称して、衣装や振る舞いの奇抜さを競った。
English: A flamboyant hairstyle was one of such eccentricities, but 'kabukimono' as well as their eccentric costumes and hairstyles came into obscurity when the Edo bakufu was established and the society became stable.
Japanese: 派手な髪型もその一つであったが、江戸幕府が開かれて世の中が安定期を迎えるにつれ「傾き者」たちも、彼らの奇抜な衣装や髪型も廃れていった。
English: As a proof of their idea of chastity like 'no virtuous widow remarries,' they cut the tip of mage to express their determination that they would never do their hair for the sake of new husbands.
Japanese: 「貞女二夫に見えず」という貞操観念の表れとして、新しい夫のために髪を結うことが無いという決意を髷の先を断ち切って表現したものである。
English: On the other hand, this hairstyle didn't spread among the women of merchants and artisans under the situation, especially in the early Edo period, where the population gap between men and women was so big that the bakufu encouraged remarriage.
Japanese: 一方町人の女性はというと、特に江戸時代前期は江戸の男女の人口比率の差が激しく幕府が再婚を奨励するほどだったこともあってか、このような髪型は登場しなかった。