nntsuzu/KFTT huggingface dataset:
English: In 1564, Nobunaga ODA saw Nagara-gawa ukai and gave the title of usho as well as ten bales (traditional unit for rice, which is 60 kilograms) of stipend to each ukai fishermen, which was the same treatment with takajo (a hawker).
Japanese: 永禄7年、織田信長は長良川の鵜飼を見物し、鵜飼それぞれに鵜匠の名称を授け鷹匠と同様に遇し、1戸に禄米10俵を給与した。
English: Since then, it became a practice to offer ayu to Edo-jo Castle every year, and each of 21 usho was entitled a stipend of ten ryo.
Japanese: 以来、江戸城に毎年鮎を献上するのが慣例となり、鵜匠21戸に各10両の扶持を給与した。
English: Ukai once declined due to the Meiji Restoration, but sweetfishes were often offered to Daizenshiki (Office of the Palace Table) during the era of Emperor Meiji.
Japanese: 明治維新で一時衰退したが、明治天皇の代にはしばしば沙汰があり大膳職に上納された。
English: In 1890, a total of about 2.67 km of Nagara-gawa River, located in Furutsu, Nagara-mura, Inaba-gun, Mugi-gun and Gunjo-gun, was incorporated into the goryoba of Imperial Household Ministry.
Japanese: 1890年から稲葉郡長良村古津その他武儀郡、郡上郡の各村で延長1471間を宮内省の鮎漁の御猟場に編入された。
English: In 1918, the Emperor watched ukai together with the Prince of Wales (George V [king of the U.K.]).
Japanese: 1918年に英国皇太子（ジョージ5世(イギリス王)）を迎え天覧鵜飼が行われた。
English: Charles CHAPLIN visited Gifu twice, in 1936 and in 1961, to watch ukai.
Japanese: 1936年と1961年の2度、チャーリー・チャップリンが鵜飼見物のために来岐。
English: The adoption of western clothing refers to when people other than westerners stop wearing indigenous clothing on a day-to-day basis and instead begin wearing Western clothing.
Japanese: 洋装化（ようそうか）とは、西欧以外の民族が、民族衣装の日常着用を棄て、洋服を採用することを指す。
English: Indigenous people living in Amazon tropical rain forest also took that accepting civilization means adopting western clothes.
Japanese: アマゾン熱帯雨林の熱帯雨林に居住する原住民も、文明を受け入れるとは、洋装化も受け入れることを指した。
English: In the Taisho period, salaried worker level was established and at least, men wearing western clothes on a public occasion became commonplace.
Japanese: 大正時代にサラリーマン層が成立すると、公の場では、少なくとも男性は洋装するのが当たり前となった。
English: However, men in the salaried worker level changed into wafuku (Japanese traditional clothes) when they went home after finishing the work.
Japanese: しかしサラリーマン層の男性も、仕事を終え自宅に帰ると、和服に衣替えした。
English: For women, wafuku was common and wearing western clothes was limited to some women who advocated women's liberation movement under leftist movement.
Japanese: 女性は、和服が一般的で、洋装するのは左翼運動で女性解放運動を主張するなど一部の者に限られた。
English: For children, western clothes were limited to only uniforms of private schools, and general children still wore wafuku during this period.
Japanese: 子供が洋装するのは、私立学校の制服くらいなもので、一般の子供たちは、この時期まだ和服を着用していた。
English: In addition, this point was introduced as a premodern aspect in the anti-Japanese movies produced in the United States during World War II.
Japanese: なおこの件に関しては、第二次世界大戦中にアメリカ合衆国で制作された反日映画で、日本の前近代的な側面として紹介されている。
English: However, the inconvenience of monpe (women's work pants) was recognized during World War II and there was a mass influx of western clothes as part of American aid when there was a shortage of clothing during the postwar chaos.
Japanese: しかし、第2次世界大戦中に、もんぺの不便さが認識されたこと、戦後混乱期に衣類市場が空白になったところに、アメリカの援助物資としての洋服が大量流入した。
English: Compared with the style of 'nageirebana' (flower arrangement in a bottle-type vase) or 'Tachibana' (standing flowers) that existed at the time, the characteristic of this school's flower arrangement was its shape that was created, based on the creator's art and creativity, by adding unique curve to flowers and branches
Japanese: それまでの「投入花」「立華」形式よりさらに生ける作家の芸術性や創作性が加味されて独特の曲、技巧を花や枝に加え形に当てはめていくという花型が特徴。
English: Although ikebana had been exclusive for the people of samurai and court noble society until then, this school contributed to make it spread among ordinary people.
Japanese: それまで武家社会や公家社会だけのものであったいけばなを、広く庶民にまで流行させた。
English: Even so, Ikebana of Enshu school was favored by the samurai society in the Edo period, and it is still prosperous at many castle towns throughout Japan.
Japanese: それでも江戸の武家社会の嗜みとして遠州のいけばなは愛され、今でも日本全国の城下町に引き継がれている地域が多い。
English: The founder of this school was Enshu KOBORI and Shunjuken Ichiyo formed the basic patterns of its flower arrangement in the middle of Edo period.
Japanese: 小堀遠州を流祖とし、江戸中期に花人・春秋軒一葉がその花型の基礎を作る。
English: Thereafter, three great Enshu schools which can be said as the originators, namely Seifu Enshu school, Nihonbashi Enshu school and Asakusa Enshu school, were founded by Ichiba TEISHOSAI, Isshi SHUNSOAN and Ittoku HONSHOSAI respectively.
Japanese: やがて本家とも言える三大遠州流が貞松斎一馬、春草庵一枝、本松斎一得らによりそれぞれ正風遠州流、日本橋遠州流、浅草遠州流として興る。
English: It is said that the school's flower arrangement added artificially calculated beauty as well as balanced beauty to the traditional aesthetic values of 'wabi and sabi' and expressed Enshu KOBORI's aesthetic consciousness, which is called 'kirei sabi,' in the flower arrangement as it is.
Japanese: それまでの「わび・さび(詫び寂び)」という美意識に留まらず、人為的に計算された美、均整のとれた美を加味して「綺麗さび」とよばれる小堀遠州の美意識をそのまま花の姿に表現すると言われている。
English: As some of them were exported overseas, it is said that the line arrangement of this school had an impact on western flower arrangement.
Japanese: またそれらの一部が海外にも渡ったこともあり、西洋のフラワーアレンジにもこの流派の曲線(ラインアレンジ)が影響を及ぼしたとも言われている。
English: Most of the paintings of 'kado,' Japanese ikebana, that were introduced to the Western world at the end of 19th cenury under the boom of Japanese culture were those of Enshu school.
Japanese: 19世紀末に西洋で隆盛を得たジャポネスクブームとともに紹介された日本のいけばな「華道」の花姿はほとんどが遠州流の花の図であった。
English: Josaih Conder, a British architect who is famous for the construction of modern Western buildings like Rokumeikan in the early Meiji era, introduced Japanese ikebana to his country by his book "The Floral Art of Japan," and he explained the principle, sprit and shape of ikebana almost solely based on those of Enshu school.
Japanese: 鹿鳴館などの建築で有名な明治初頭の西洋近代建築を日本にもたらしたイギリス人、ジョサイア・コンドル(ジョサイア・コンダー)JosaihConderが自国に紹介した日本のいけばなの書物、TheFloralArtofJapanに解説されているいけばな理念、精神、花形、などはそのほとんどが遠州流から引用されている。
English: The school's flower arrangement adopts tenchijin (heaven, earth and man) as the kiku (standard) of flowers, and express Mt. Fuji, the flow of river or a fall by bending branches with high skills called kusabitame (hikitame).
Japanese: 天地人の三才を花の規矩とし、くさび撓め(ひき撓め)など高度な技術を多用して枝を曲げ、富士山を表現したり、川の流れ、滝などを表現する。
English: Kado Enshu school is a school which Ichiju ASHIDA established in 1993 when he became independent from his father Kazuma ASHIDA, the head of Enshu (former Seifu Enshu school).
Japanese: 華道遠州は平成5年(1993年)に遠州(旧正風遠州流)の宗家である父芦田一馬より息子の一寿が独立して興した流派である。
English: Folk-cultural properties refer to material folk-culture with a particularly high value which require preservation measures, or measures or rules for such preservation are expected to be effective.
Japanese: 民俗文化財（みんぞくぶんかざい）とは、民俗資料のうち、とくに資料性が高く、保存措置が必要だったり、あるいは、保存のための措置や施策が功を奏すると期待される資料である。
English: They are designated as folk-cultural properties by the Government and the local public bodies in the context of the cultural heritage protection system.
Japanese: 国や地方公共団体が文化遺産保護制度の一環として指定した文化財である。
English: Folk-cultural properties in Japan are roughly categorized into folk-cultural properties tangible folk-cultural properties and folk-cultural properties intangible folk-cultural properties.
Japanese: 日本の民俗文化財は民俗文化財有形民俗文化財と民俗文化財無形民俗文化財に大別される。
English: The categories have a designation system for important tangible folk-cultural properties and important intangible folk-cultural properties, complemented by registered tangible folk-cultural properties and (commonly called) selected intangible folk-cultural properties, respectively.
Japanese: それぞれに重要有形民俗文化財、重要無形民俗文化財の指定制度があり、指定制度を補完するものとして登録有形民俗文化財と選択無形民俗文化財（通称）がある。
English: In Japan, folk-cultural properties became the cultural properties to be protected when the Act on Protection of Cultural Properties was enacted in 1950.
Japanese: 日本において、民俗文化財が文化財保護の対象となったのは、1950年（昭和25年）の文化財保護法制定においてであった。
English: On this occasion, the present-day folk-cultural properties were designated as 'folklore materials,' and included in tangible cultural properties along with 'buildings' and 'arts and crafts.'
Japanese: このとき、現在の民俗文化財は「民俗資料」として「建造物」や「美術工芸品」と並んだ有形文化財のひとつとされた。
English: When the Act on Protection of Cultural Properties was revised in 1954 (commonly called 'primary revision'), the protection system for tangible material folk-culture was separated from the designation system for tangible cultural properties, and was refurbished as the designation system for 'important material folk-culture'.
Japanese: 1954年（昭和29年）の文化財保護法改正（通称「第一次改正」）において、有形の民俗資料の保護に関する制度を有形文化財の指定制度から切り離し、「重要民俗資料」の指定制度が発足した。
English: At the same time, a selection system for 'intangible folklore material for which records should be prepared' was introduced.
Japanese: あわせて、無形の民俗資料について「記録作成等の措置を講ずべき無形の民俗資料」選択制度が発足した。
English: In the revision of 1975 (commonly called 'secondary revision'), the conventional term 'folklore materials' was renamed to 'folk-cultural properties,' and the conventional 'important folklore materials' came to be deemed as 'important tangible folk-cultural properties.'
Japanese: 1975年（昭和50年）の同法改正（通称「第二次改正」）では、従来の「民俗資料」が「民俗文化財」と改称されて、従来の重要民俗資料は重要有形民俗文化財と位置づけられた。
English: In addition, a new designation system for 'important intangible folk-cultural properties' was introduced to complement the folk-cultural properties system.
Japanese: また、新たに重要無形民俗文化財の指定制度が設けられるなど、民俗文化財制度が整備された。
English: In the revision and enforcement of the law in 2005, a system for registered tangible folk-cultural properties was started to complement the designation system for important tangible folk-cultural properties system.
Japanese: 2005年（平成17年）の同法改正施行において、重要有形民俗文化財指定制度を補完する登録有形民俗文化財制度が発足した。
English: In the active Act on Protection of Cultural Properties, folk-cultural properties are defined in article 2, paragraph 1, item 3 as follows.
Japanese: 現行の文化財保護法では、民俗文化財については、第2条第1項第3号で以下のように規定している。
English: Manners and customs related to food, clothing and housing, to occupations, religious faiths, annual observances, etc., folk performing arts and folk techniques, and clothes, implements, houses and other objects used therefor, which are indispensable for the understanding of changes in our people's modes of life.
Japanese: 衣食住、生業、信仰、年中行事等に関する風俗慣習、民俗芸能、民俗技術及びこれらに用いられる衣服、器具、家屋その他の物件で我が国民の生活の推移の理解のため欠くことのできないもの
English: In this law, 'folk performing arts' (added in the revision in 1975) and 'folk techniques' (added in the revision in 2004) are added to the law revised in 1954.
Japanese: これは、1954年改正時の条文に「民俗芸能」（1975年改正時追加）と「民俗技術」（2004年改正時追加）を付け加わえたものである。
English: In Japan, the Government designates especially important items of tangible folk-cultural properties as important tangible folk-cultural properties, and takes protective measures.
Japanese: 日本では、有形の民俗文化財のうち特に重要なものを重要有形民俗文化財として国が指定し、保護措置を講じている。
English: The local public bodies also designate 'tangible folk-cultural properties.'
Japanese: 地方公共団体も、同様に「有形民俗文化財」として指定をおこなっている。
English: When the Act on Protection of Cultural Properties was revised in 2004, a registration system for folk-cultural properties was introduced, enabling tangible folk-cultural properties that require special preservation and utilization among those not designated by the Government or the local public bodies as such to be registered as registered tangible cultural properties.
Japanese: 2004年の文化財保護法改正によって民俗文化財の登録制度が発足し、国または地方公共団体の指定を受けていない有形民俗文化財のうち、保存と活用が特に必要なものを登録有形民俗文化財として登録することになった。
English: In Japan, the Government designates especially important items among intangible folk-cultural properties as important intangible folk-cultural properties and takes protective measures.
Japanese: 日本では、無形の民俗文化財のうち特に重要なものを重要無形民俗文化財として国が指定し保存措置を講じている。
English: Prefectural governments and local municipalities also designate 'intangible folk-cultural properties.'
Japanese: 都道府県や市町村も、同様に「無形民俗文化財」として指定をおこなっている。
English: When especially necessary, the Commissioner of the Agency for Cultural Affairs selects folk-cultural properties among those other than important intangible folk-cultural properties as 'intangible folk-cultural properties for which records should be prepared' (commonly-called selected intangible folk-cultural properties), and supports researches and recording conducted by local public bodies.
Japanese: 重要無形民俗文化財以外の無形の民俗文化財のうち特に必要のあるものを文化庁長官が「記録作成等の措置を講ずべき無形の民俗文化財」（通称選択無形民俗文化財）として選択し、地方公共団体の行う調査事業や記録作成の事業に助成を行っている。
English: The items in the Act on Protection of Cultural Properties, article 2, paragraph 1 defines cultural properties as follows.
Japanese: 日本の文化財保護法第2条第1項各号の規定によれば、文化財は以下に大別される。
English: Among these categories, the difference between 'intangible cultural properties' and 'tangible cultural properties' is explained below.
Japanese: このうち、「無形文化財」と「無形民俗文化財」の相違について説明する。
English: Arts and skills employed in drama, music and applied arts, and other intangible cultural products which possess a high historical and/or artistic value in and for this country.
Japanese: 演劇、音楽、工芸技術その他の無形の文化的所産で我が国にとつて歴史上又は芸術上価値の高いもの
English: Specifically, traditional performing arts such as nogaku (the art of Noh), kabuki and joruri (dramatic narrative chanted to a samisen accompaniment), and traditional crafts such as manufacturing of ceramics and lacquer ware.
Japanese: 具体的には能楽や歌舞伎、浄瑠璃などの伝統芸能や陶磁器、漆器製作などの伝統工芸である。
English: The cultural properties here are deemed as intangible 'techniques' themselves, and the people or organizations that have such 'techniques' are certified as 'holders.'
Japanese: ここで文化財と考えられるのは無形の「わざ（技術）」そのものであり、その「わざ」をもつ人や団体を「保持者」として認定している。
English: On the other hand, the Act on Protection of Cultural Properties mentioned earlier states folk-cultural properties as follows, emphasizing the historical material aspect.
Japanese: それに対し、民俗文化財は前述の文化財保護法にあるように次のように規定されており、歴史資料ないし史料としての側面が重視される。
English: According to the Act on Protection of Cultural Properties of Japan, 'intangible cultural properties' refer to 'highly sophisticated techniques' and 'professional skills,' and individuals and organizations that have such techniques and skills are certified as 'holders.'
Japanese: 日本の文化財保護法においては、「無形文化財」は「高度に洗練された技術」「プロの技術」を指し、その技術をもつ特定の個人や団体が「保持者」として認定される。
English: On the other hand, those designated as 'intangible folk-cultural properties' are lives, customs and events of commoners themselves, such as manners and customs, folk performing arts and annual observances, for which individuals or organizations are not certified as 'holders.'
Japanese: これに対し、「無形民俗文化財」の指定対象は風俗慣習、民俗芸能、年中行事などの一般庶民の生活、慣習、行事そのものであって、特定の個人や団体を「保持者」として認定することはない。
English: For this reason, in the Act on Protection of Cultural Properties of Japan, intangible folk-cultural properties are persistently categorized into 'folk-cultural properties' instead of 'intangible cultural properties.'
Japanese: それゆえ、日本の文化財保護法においては、無形民俗文化財はあくまでも「民俗文化財」の範疇に含まれるのであり、「無形文化財」には属さない。
English: However, unlike the Japanese law that distinguishes 'intangible cultural properties' from 'intangible folk-cultural properties', Intangible Cultural Heritage does not differentiate the two.
Japanese: ただし、世界無形遺産では、日本におけるような「無形文化財」と「無形民俗文化財」の区別は設けていない。
English: Itoin is a copper seal made in China in Ming Dynasty and brought into Japan over the Sengoku period (period of warring states) and the Momoyama period.
Japanese: 糸印（いといん）とは、明代の中国で造られ、戦国時代(日本)から桃山時代までに日本にもたらされた、鋳銅製の印章のことである。
English: There are various kinds of chu (finger grip of a seal), such as animal-shape chu or man-shape chu, mainly, and more than 200 kinds has been recognized.
Japanese: 鈕の部分は動物鈕・人物鈕を中心に多種多様で200種類以上確認されている。
English: Barely readable characters includes those relate to letters such as '封,' '封信,' and '平安家書,' and Yuin (seal carved favorite words or phrases.)
Japanese: 辛うじて読める文字には「封」・「封信」・「平安家書」などのような書信に関係するものから遊印などが見られる。
English: A reliable theory is that itoin was originally used as seal of approval when trading raw silk in Japan-Ming trade.
Japanese: 糸印の本来の用途は、日明貿易における生糸輸入時の信証に利用したとする説が有力である。
English: In this theory, raw silk was sealed with one itoin each time of bundling up, and the itoin was regarded as a receipt stamp in the Japanese side.
Japanese: この説では、生糸を束ねる毎にひとつの糸印で封印し、また日本側での受領印としたとしている。
English: In one theory, it is assumed that the time is the tally trade (between Japan and the Ming dynasty) in the Muromachi period, and in another theory, the later Keicho era.
Japanese: その時期については室町時代の勘合貿易とする説、その後の慶長年間とする説がある。
English: Other theories include that of a paperweight, that of netsuke (miniature carving attached to the end of a cord hanging from a pouch), that of imitation of a Goreo seal (Korean seal), and that of a purchase stamp (products in bulk.)
Japanese: その他に文鎮説、根付説、高麗印の模倣説、仕入判（量産品）説などがある。
English: The theories also included that of production in Japan, but casting in China has been determined since it was affirmed that it was stored in the Shanghai Museum.
Japanese: なお、日本産とする説もあったが、上海博物館に収蔵が確認されたことから中国で鋳造されたことが明らかとなった。
English: In the Edo period, it was called 'kodoin,' or 'kochu-in,' and also called as common names 'eto-in,' 'ju-in,' or 'Hakata-in.'
Japanese: 江戸時代には「古銅印」・「古鋳印」と呼ばれ、俗称では「干支印」・「紐印」・「博多印」とも呼ばれた。
English: It was Tokifuyu YOKOI who first called it 'itoin' when he released 'A study of Itoin' in 'Kokogaku Zasshi' (Archeology Magazine) published in 1897.
Japanese: 最初に糸印と呼んだのは明治30年「考古学雑誌」に「糸印の考」として発表した横井時冬である。
English: Busho (Japanese military commander) in the Sengoku period (period of warring states) preferably used itoin, and especially well known is Inbanjo (license with a seal) with mimizu-in (seal of a worm) of Hideyoshi TOYOTOMI.
Japanese: 戦国時代の武将が好んで糸印を利用しているが、とりわけ豊臣秀吉の蚯蚓印の印判状はよく知られている。
English: In the early Edo period, men of refined taste such as Nobutada KONOE and Enshu KOBORI, painters such as Tanyu Kano, Mitsuoki TOSA, Oukyo MARUYAMA, Buncho TANI, Aigai TAKAKU, and Chinzan TSUBAKI preferably used itoin as their own Rakkan-in (seal to be put on a piece of calligraphy by a calligrapher when the piece is completed).
Japanese: 江戸時代初期には近衛信尹や小堀遠州などの風流人が、画家では狩野探幽、土佐光起や円山応挙、谷文晁、高久靄厓、椿椿山などが好んで自らの落款印としている。
English: Collections in "Kodo Ini" that Fuyo specified the original condition by comparing with other writings are entirely impressions of seal of itoin.
Japanese: また芙蓉の校定した『古銅印彙』などは収録のすべてが糸印の印影である。
English: Itoin is reliable as the origin of netsuke, and it is assumed that Japanese original netsuke has been developed with the shipped itoin hung on an obi.
Japanese: 糸印は根付の起源として有力で、舶載された糸印を帯に提げるうちに日本独自の根付が発達したとものとする。
English: "Sanmon Gosan-no-kiri" is the gedai (title) of a kabuki that was written by Gohei NAMIKI (the first) and first performed at Kado-za Theatre of Osaka in April, 1778.
Japanese: 『楼門五三桐』（さんもんごさんのきり）は、安永7(1778年)年4月大阪角の芝居で初演された、初代並木五瓶作の歌舞伎の演目。
English: Its second act's 'kaeshi' (or 'kaeshi-maku', a scene in the same act including a curtain-fall), "Nanzen-ji Sanmon-no-ba" (Scene at Sanmon Gate of Nanzen-ji Temple) is commonly known as "Sanmon."
Japanese: 二段目返し「南禅寺山門の場」は特に『山門』（さんもん）と通称される。
English: When it was first performed, the gedai was "Kinmon Gosan-no-kiri" ('kinmon' means 'a golden gate'), and later it was changed to "Sanmon Gosan-no-kiri" ('sanmon' means 'a two-story front gate of a temple'; 'gosan-no-kiri' is a crest of eleven paulownia flowers divided into three groups as 3＋5＋3).
Japanese: 初演時の歌舞伎外題は『金門五山桐』（きんもんごさんのきり）、のちに改称されて現在の歌舞伎外題となった。
English: On a spring evening, on the rooftop of Nanzen-ji Temple, Goemon ISHIKAWA, a legendary bandit with designs on all the treasure of Japan, is composedly smoking with a pipe and viewing the cherry trees which are in full bloom, and says his famous line: "What a superb view, what a superb view; that man, saying that a moment of a spring evening is worth one thousand ryo (monetary unit), was a person of really small, small caliber; for this moment, I would spend ten thousand ryo, hundred million ryo" ('a moment of a spring evening' refers to the famous phrase of a Chinese poem "春夜Chunye" by 蘇軾Su Shi; in the original, it is 'one thousand gold' 春宵一刻値千金).
Japanese: 南禅寺の南禅寺伽藍の屋上、天下をねらう大盗賊石川五右衛門は煙管を吹かして、「絶景かな、絶景かな、春の宵は値千両とは、小せえ、小せえ、この五右衛門の目からは、値万両、万々両」という名台詞を吐き、夕暮れ時の満開の桜を悠然と眺めている。
English: Reading it, Goemon discovers that he is a son of So Sokei and So Sokei was killed by Hisayoshi MASHIBA; in fact, Goemon had been trying to avenge the murder of his adoptive father Mitsuhide TAKECHI on Hisayoshi previously.
Japanese: 読むうちに五右衛門は、自身が宋蘇卿の子で、かねてから養父武智光秀の仇としてつけ狙っていた真柴久吉が実父の仇でもあることを知る。
English: At the end of the fight, Hisayoshi, disguised as a pilgrim, comes to the stage and reads Goemon's poem, "Dear Ishikawa, even if all of the sands on the beach are gone--", Goemon interrupts, "whoa, what?", Hisayoshi continues, "--the seeds of thieves wouldn't run out from the world" ('Ishikawa' refers to Goemon and to shingle).
Japanese: そこに巡礼姿の久吉が現れ、五右衛門の句を詠み上げる：久吉「石川や浜の真砂は尽きるとも」、五右衛門「や、何と」、久吉「世に盗人の種は尽きまじ」。
English: Goemon is surprised and hurls a shuriken (short or small sword for throwing) against Hisayoshi, Hisayoshi catches it with a dipper (for visitors to wash hands and rinse mouth in the temple), Goemon says, "it's a present to you, pilgrim", then the two men glare at each other, swearing to meet again.
Japanese: 驚いた五右衛門が手裏剣を打つと久吉は柄杓でそれを受け止め、「巡礼にご報謝」と双方にらみ合って再会を期す。
English: "Sanmon Gosan-no-kiri" is a large-scale kabuki in five acts, describing vengeance during the Bunroku-Keicho War where the antagonism between Goemon ISHIKAWA who is a surviving child of a high-ranking official of the Ming dynasty So Sokei and aims to dominate over Japan, and Hisayoshi MASHIBA who is practically ruling over Japan.
Japanese: 『楼門五三桐』は、文禄・慶長の役の復讐に日本支配を企てる明高官・宋蘇卿の遺児・石川五右衛門と日本の支配者・真柴久吉との対立を描く、スケールの大きい五幕の長編である。
English: However, because of the complicated setting including the background of those characters and of many contradictions, it has been rarely fully performed since after the opening, and at present, usually only the second act's kaeshi "Nanzen-ji Sanmon-no-ba" is performed.
Japanese: しかし史実を踏まえた架空の登場人物の設定は極めて複雑かつ矛盾に満ちたものになっており、そのため初演以来これが通しで演じられることは稀で、通常は二段目返しの「南禅寺山門の場」のみが上演される。
English: Following the solo of Joruri (dramatic narrative chanted to a samisen accompaniment), the whole Asagi-maku curtain (colored with sky-blue and white) drops to show the colorful, splendid roof of Sanmon on the stage, and on the roof, Goemon, wearing a kinran-tanzen (thick jacket with elaborate pattern sewed with gold threads) and an obyakunichi-katsura (manly wig with shaggy wisps in front), calmly smoking a pipe.
Japanese: 浄瑠璃古浄瑠璃の独唱のあと幕浅黄幕が切って落とされると、極彩色の華麗な山門の屋根がそこにあり、金爛丹前に大百日鬘という出で立ちの五右衛門がその上で悠然と煙管を吹かしている。
English: At the end of the scene, two actors perform a mie pose called 'Tenchi-no-mie' (mie pose emblematic of heaven and earth), in which from above Goemon, putting his foot on the railing and his hand on the hilt of the sword, stares at Hisayoshi, while from below Hisayoshi, catching the shuriken with the dipper, stares at Goemon; with such three-dimensional picturesque view on the stage, the curtain falls and the gorgeous scene is completed.
Japanese: 幕切れの見得は、五右衛門が刀を抜きかけて欄干に片足をかけて下をにらみ、久吉が柄杓で手裏剣を受けて上をにらみ返す「天地の見得」と呼ばれるもので、絢爛豪華な舞台にふさわしい立体感あふれる幕切れである。
English: "Sanmon" is considered to have been very popular since soon after the opening, because it was adopted without big changes for many other kabuki where the leading character was Goemon ISHIKAWA or a big bandit written after Goemon; popular titles among such kabuki are "Nanzen-ji Sanmon-no-ba" (Scene at Sanmon Gate of Nanzen-ji Temple) of "Sanmon Hitome-senbon", the last scene of "Aoto-zoshi Hana-no-nishiki-e", "Gokuraku-ji Sanmon-no-ba" (Scene at Sanmon Gate of Gokuraku-ji Temple) and "Namekawa Dobashi-no-ba" (Scene at the bridge covered with soil across Namekawa River) of the same kabuki.
Japanese: この『山門』は、『楼門詠千本』の「南禅寺山門の場」や、『青砥稿花紅彩画』大詰の「極楽寺山門の場」・「滑川土橋の場」など、『楼門五三桐』以後に書かれた石川五右衛門や五右衛門をモデルとした大盗賊を主役とする数々の演目にほぼそのままのかたちで取り入れられており、誰もが一度は見たがった人気の一幕であったことが窺える。
English: In 1778, when "Kinmon Gosan-no-kiri" was first performed in Osaka, Koroku ARASHI (the third) acted the role of Goemon.
Japanese: 安永7年に『金門五山桐』が大阪で初演されたときに五右衛門を演じたのは嵐小六(3代目)である。
English: He was a great actor who had played in theatres in the Kansai region; he excelled in 'shosa' (movement and manner) and especially good at graceful movements taking advantage of his over-weight body; when acting the roles of 'kuge-aku' (vicious court noble) or 'muhon-nin' (rebel) aiming to dominate over the whole country, he was regarded as the best.
Japanese: 初代は所作に優れた上方歌舞伎の名優で、肥満体でみせる上品な芸は公家悪や天下をねらう謀反人を演じたら右に出る者はいないと言われた。