nntsuzu/KFTT huggingface dataset:
English: It has been formalized that when Gekizaemon receives the certificate from Katsumoto, he takes off his Kataginu (sleeveless formal garment for samurai) and holds the certificate with it.
Japanese: 外記が勝元から墨付けを受け取るときははずした肩衣で受け取るのが型である。
English: Danjo was played by great actors like Danjuro ICHIKAWA (the ninth) and Danzo ICHIKAWA, the seventh in the Meiji period, Koshiro MATSUMOTO (the seventh) before the Second World War, Shoroku ONOE, the second and Kanzaburo NAKAMURA, the seventeenth after the war.
Japanese: 明治期の市川團十郎(9代目)、七代目市川團蔵、戦前の松本幸四郎(7代目)、戦後の二代目尾上松緑、十七代目中村勘三郎などの名優が弾正を演じた。
English: Now, it has been handed down to Ennosuke ICHIKAWA (the third), Nizaemon KATAOKA (the fifteenth) and so on.
Japanese: 現在では市川猿之助(3代目)、片岡仁左衛門(15代目)などに伝わっている。
English: In "Capricious Young Man" (Akanishi Kakita), a film produced by Nikkatsu Corporation in 1936, Chiezo KATAOKA playing Kai HARADA performed a battle scene influenced by the scene of Attack of this play.
Japanese: 1936（昭和11）年日活製作の映画『赤西蠣太』では、原田甲斐役の片岡千恵蔵が、本作の刃傷の場を意識した乱闘を演じている。
English: Yomei Tenno Shokunin Kagami (The Mirror of Craftsmen of the Emperor Yomei) is a play written by Monzaemon CHIKAMATSU for Bunraku (Japanese puppet theater).
Japanese: 用明天皇職人鑑（用明天王職人鑑、ようめいてんのうしょくにんかがみ）は近松門左衛門が書いた文楽の物語。
English: This is a Bunraku play, first performed in 1705 in Gidayu-bushi (a style of Joruri [dramatic narrative chanted to a shamisen accompaniment]).
Japanese: この物語は、宝永2年（1705年）に義太夫節で初演された、文楽である。
English: Takemoto (the famous chanter who established Gidayu-bushi) intended to retire after "Sonezaki Shinju" (The Love Suicides at Sonezaki), a masterpiece of Monzaemon CHIKAMATSU, became popular and well known, but Izumo TAKEDA persuaded him not to, and wrote a script for this play in 1705; this is how the play was produced.
Japanese: 竹本は、近松門左衛門の代表作として有名な『曽根崎心中』が、世間に広く知れ渡るようになり、それを機に竹本が引退するのを竹田出雲が留まらせ、宝永2年（1705年）にこの脚本を担当したのが作品の始まりである。
English: The story is that Imperial Prince Hanahito, later Emperor Yomei, is a pious Buddhist and confronts Prince Yamabiko, anti-Buddhist and son of Emperor Bidatsu.
Japanese: 花人親王と呼ばれる後の用明天皇が、仏教を厚く信仰し、敏達天皇の息子で仏教廃仏派の山彦王子と対立していくあらすじである。
English: As the story develops, Imperial Prince Hanahito who believes in Buddhism ousts Prince Yamabiko of anti-Buddhist faction in the end.
Japanese: 経緯としては、最終的に仏教を崇める花人親王が、廃仏派の山彦王子を疎外するといった展開である。
English: This play is characterized by the adoption of legends handed down through generations, associated with Prince Shotoku, a member of imperial family in the Asuka period as well, whose father is said to be Emperor Yomei, the model of the main character.
Japanese: この作品は主人公のモデルとなった用明天皇が、同じく飛鳥時代の皇族である聖徳太子の父であるという逸話から、後代に伝えられた聖徳太子にまつわる伝説を取り入れているのが特徴である。
English: Presently the second half of Act 2 'FUJISAWA Nyudo Yakata' (Nyudo FUJISAWA's Mansion) remains as 'Hangaku no Mon yaburi no Ba' (Hangaku's Gate Breaking Scene).
Japanese: 現在は二段目「藤沢入道館」の後半部が「板額門破りの場」として残されている。
English: Around the time of Sanetomo MINAMOTO, Third Shogun of the Kamakura period, deceived with a tactic of a gyakushin (rebellious subject), Nyudo FUJISAWA and his son, Shiro, friction between Yoshitoki HOJO and Tsunemori WADA who are both the Shogun's senior vassals is increasing.
Japanese: 鎌倉三代将軍源実朝のころ、逆臣の藤沢入道・四郎父子の策略で、有力御家人の北条義時と和田常盛との軋轢が強まっている。
English: Under such a tumultuous circumstance, Heita EGARA killed Sanetomo's sister, Saihime, at Nyudo Yakata, and concealed himself.
Japanese: そんな騒然とした中、荏柄平太が実朝の妹斎姫を入道館で殺害し行方知れずとなる。
English: For investigation Yoichi ASARI rushes to the scene with his wife, Hangaku, but Nyudo does not allow them to enter the mansion for the reason that Hangaku is a younger female cousin of Heita.
Japanese: 調査のため阿佐利与市が妻板額とともに現場に急行するが、入道側は板額が平太の従妹であるという理由で館内に入るのを許さない。
English: Getting angry at the attitude of Nyudo who still doubts, Hangaku breaks down the gate with her characteristic mighty strength and has her husband enter the mansion.
Japanese: なおも疑う入道側の態度に怒った板額は持ち前の怪力で門を打ち破り、夫を中に入れる。
English: A creation based on the popular belief about a gate breaking by Yoshihide ASAHINA, who was a retainer of Yoshimori WADA, and on preceding works such as 'Egara-no-Heita' by Monzaemon CHIKAMATSU.
Japanese: 和田義盛の郎党朝比奈義秀の門破りの俗説と、近松門左衛門の「悦賀楽平太」などの先行作をもとに創作された。
English: In addition to the presently performed act, the known acts include the third act 'Ichiwaka Migawari' (Ichiwaka becoming a stand-in) in which Hangaku who has learned that Heita's son, Kugyo, is a Sanetomo's illegitimate child makes her child, Ichiwaka, a scapegoat, and the fourth act which has caused a fancy scene to be called 'Chari-Ba' (comical scene) due to the comical performance by Ajari, the Betto (Administrator) of Tsurugaoka Shrine.
Japanese: 現行の段のほか、平太の子公暁が実朝の隠し子であることを知った板額が、わが子市若を身代わりに立てる三段目「市若身替り」と、鶴が岡別当阿闍利のコミカルな演技で、滑稽な場を「チャリ場」と呼ぶきっかけとなった四段目などが知られる。
English: The heroin, Hangaku, is one of few foremost powerful women in Kabuki as described in the original joruri that 'she is not so ugly, but looks so strong as a sekitori (sumo wrestler), which is only her redeeming feature.'
Japanese: ヒロイン板額は「面はさほど見苦しゅうもござれども、関取相撲を見るやうな大丈夫、力の強いばかりが取り得」と原作の浄瑠璃にあるごとく歌舞伎の中でも有数の力の或る女性である。
English: It is perceived by the audience that, after being divorced, uttering the lines of '…the abandoned woman has no home of her own in the three worlds, and, if no home, then no master. There is nobody to show a reserved attitude.' and the joruri expression of 'Even if this gate is fortified with large stones, the force of my will arising from my devotion to my husband shall force through the gate.', Hangaku gives a nod to her husband, rubs her hands together, gets to the front of the gate, and then touches the gate with the kaishi (paper folded and tucked inside the front of kimono) to push it.
Japanese: 板額は離縁されたのち「・・・去られた女房は三界に家なし、家が無ければ主もなし。誰に憚り遠慮せん。」の台詞と「たとえこの門磐石にて固めるとも、夫思いの我が念力、やわか通さでおくべきかと」という浄瑠璃の詞に乗り、夫に会釈ののちもみ手をして門前に行き、懐紙で門にあてて押すという演じ方が伝わっている。
English: The difficulty of this role is to perform violently without losing the flavour of an actor of female roles.
Japanese: 女形の心得を失わずにバイオレンスな演技をするところにこの役の難しさがある。
English: As it is special performance of a female impersonator, in many cases it was performed by such key players as Danjuro ICHIKAWA (9th), Chusha ICHIKAWA (7th) and Tamikura OGAMI (3rd).
Japanese: 特殊な女形の演技なので、市川團十郎(9代目)、市川中車(7代目)、尾上多見蔵(3代目)など立役が演じることが多かった。
English: After the World War II, Utaemon NAKAMURA (6th), Sojiro SAWAMURA (9th) and others performed this as their speciality.
Japanese: 戦後は中村歌右衛門(6代目)、澤村宗十郎(9代目)などが得意とした。
English: An actor of female roles who performs bravely is called 'Onna Budo' (a woman of worrier rank, or a woman of warlike spirit, capable of fighting a man) and Hangaku is its representative role.
Japanese: 勇ましい演技をする女形を歌舞伎では「女武道」とよび、板額はその代表的な役柄である。
English: Danjuro was absorbed in Katsureki-mono (real history things), so dressed up with a sagegami (a wig for an actor of female roles) and a yellowish green haramaki (belly band) and carried a naginata (a long pole with a sharp curving sword).
Japanese: 團十郎は活歴物に凝っていたので、下げ髪の鬘、萌黄色の腹巻という扮装で薙刀を持つというものであった。
English: Currently worn is a complete set of jidaimono (historical drama) dress-up consisting of katahazushi (female role of nyobo [a court lady] of samurai family or goten jochu [palace maid]) hair-style, a scarlet rinzu (a kind of silk kimono) with an uchikake (a kind of women's kimono) and a white hiraguke (a thin belt to be put on an obi, sash).
Japanese: 現行のは片はずし、緋色の綸子に打掛、白色の平ぐけという丸本時代物の扮装である。
English: Especially Shiro FUJISAWA, who is put down by Hangaku, sets the stage alight with his clownish ha-gataki (bit-part actor for enemy role) characteristics such as the dialog of 'mon dukushi' (filled with gates) in nori-ji (in a rhythmic manner) to the accompaniment of the stage-right music while leading the rotos (retainers) wearing hanayoten (constables in colorful uniform), even though he is shivering with fright caused by Hangaku's mighty strength.
Japanese: とくに板額にやり込められる藤沢四郎は、板額の怪力に震えながらも花四天の郎党を引き連れて、下座の音楽に乗ってノリ地で門尽くしの台詞を述べるなど、道化じみた端敵の性格で劇を盛り上げている。
English: You look proud of your strength, treat an akazu-no-mon (gate that cannot be opened) as a haradaiko (patting on a paunch like a drum) and expect the Kaminari-mon (Thunder Gate) to fall.'
Japanese: 「・・・うぬが力の自慢顔、あかずの門をば腹太鼓、雷門の落ちるよな。」
English: If it is broken easily with rattling sound, whether Sujigane-mon (the Iron Girder Gate) or Kinmon (a golden gate), or Nekonomon (a cat gate) which does not meow, the romon (aged gate) is hopeless.'
Japanese: 「がらがらぴっしゃり破られては、筋鉄門でも金門でも、にゃんとも言わぬ猫の門、これでは老門しようがない。」
English: If we let you go with nothing, a curse will be placed on our family and our clan. The one who has come as a killer does not consider it as a sanmon gate (temple gate), but handles it as ana-mon (hole gate) which is a nohozu mon (sloppy gate). If midomo (I) become the Nio-mon (Nio Gate, a gate to prevent devils), it is all right. Once I refuse it, my life will be a Torano-mon gate (Tiger Gate). Mon ga mogaite-mo mon kanawanu (No matter how hard I may struggle, I cannot attain my desire). Shall I give my head or take me up? Give an answer. Come on, come on....Nan-mon (South Gate), Nan-mon.'
Japanese: 「うぬその儘に帰りなば、一家一門たたりが行く、討手に参った某を、山門とも思わずに、穴門すったるのほうず門、身共が仁王門になればよし、いやじゃなんぞともんすが最後、おのが命を寅の門、もんもがいても、もん叶わぬ、首を渡すか腕廻すか、返答はサア、サア、・・・・南門、南門。」
English: Middle Japanese is a stage in the development of the Japanese language located between Early Middle Japanese and Early Modern Japanese.
Japanese: 中世日本語（ちゅうせいにほんご）とは、中古日本語と近世日本語の間に位置する、日本語の発展における一段階である。
English: In this period the language lost many of its characteristics it had held since the ancient times, and got much closer to today's Japanese.
Japanese: この時期に古代から備わっていた特徴の多くは失われ、現在の日本語にかなり近い形となった。
English: It is a period of about 500 years, roughly from the 12th century to the end of 16th century, and is generally divided into the preceding and latter terms.
Japanese: おおまかにいって12世紀から16世紀いっぱい、500年ほどにわたる期間で、通常は前期と後期に分けられる。
English: From the viewpoint of political history, the preceding Middle Japanese corresponds to the insei period (during the period of the government by the retired Emperor) at the end of the Heian period to the Kamakura period, and the latter Middle Japanese to the Muromachi period.
Japanese: 政治史で見ると前期中世日本語は平安時代末の院政期から鎌倉時代、後期中世日本語は室町時代に相当する。
English: The end of 12th century is a transition period from nobles' autocracy to samurai feudal society.
Japanese: 12世紀末は貴族による専制政治から武士階級の封建社会への過渡期であった。
English: While the center of politics moved to the eastern Japan, where seii taishogun (literally, "great general who subdues the barbarians") established the Bakufu for management of national politics, a large number of new schools of Buddhism were created in this period and the extension of their influence increased the number of literate population.
Japanese: 政治の中心は、征夷大将軍たちが執政のため幕府を置いた東日本へと移るが、この時期には仏教の新宗派が数多く興り、その勢力の拡大は識字人口を増やすこととなった。
English: Their language was introduced along with the Western thoughts and technology, and various words of the Portuguese language were brought into Japan as loan words.
Japanese: 西洋の思想と技術とともに彼らの言語も伝えられ、様々なポルトガル語が外来語としてもたらされることとなった。
English: Portuguese missionaries, learning Japanese for the purpose of spreading their belief, wrote a large number of grammar books and dictionaries and translated literary works.
Japanese: ポルトガル人宣教師たちは彼らの信仰を広めるために日本語を学び、数多くの文法書、辞書を作成し、また文芸作品の翻訳も行っていた。
English: Originally e- and o-vowels at the beginning of words were realized as demi-vowels of [j] and [w] respectively.
Japanese: 当初、語頭の「え（/e/）」と「お（/o/）」はそれぞれ半母音の[j]および[w]として実現していた。
English: This is a result of the integration derived from Early Middle Japanese, but it is still unclear and remains to be further discussed how those vowels were pronounced when they followed consonants.
Japanese: これは中古日本語から受け継がれた統合の結果であるが、子音の後にこれらが続く場合にどのように発音されたのかはいまだ明らかでなく、更なる議論が待たれるところである。
English: It is considered that a consecutive vowel "au" turned into a broad tone, and "ou", "oo" and "eu" turned into compound tones [oː] and [joː] respectively, but some researchers insist otherwise.
Japanese: 連続母音「あう（au）」は（開音）に、「おう（ou）」・「おお（oo）」と「えう（eu）」がそれぞれ、（合音）になったと考えられているが、異説もある。
English: /N/ started to be represented as "n" and it turns into a uvular nasal at the end of segments but, when followed by plosives, affricate consonants and nasals, is assimilated into their position of articulation.
Japanese: /N/は「ん」「ン」と表記されるようになり、文節末の/N/は口蓋垂鼻音となるが、破裂音、破擦音、鼻音が後続する場合にはその調音位置へ同化する。
English: On the other hand,/Q/ is represented by a small "tsu" and functions as reproduction of plosives and affricate consonants which follow it.
Japanese: 一方/Q/は「つ」「ツ」と表記されるが、後続する閉鎖音・摩擦音の複製として機能する。
English: Furthermore labialized consonants such as/kw, gw/ were also used in Early Middle Japanese.
Japanese: また、中古日本語においては/kw,gw/のような唇音化した子音も用いられていた。
English: In Middle Japanese, however, those labialized consonants became unified with unlabialized consonants when put before i- and e-vowels.
Japanese: しかし中世日本語期には、i音とe音の前に置かれたこれら唇化子音は、円唇化を伴わない子音と一体化していった。
English: However, there remained a difference between/ka/ and/kwa/.
Japanese: なお、/ka/と/kwa/（「か」と「くわ」）の違いは依然として残存した。
English: Joao Rodriguez, in his book "Arte da Lingoa de Iapam," stated that/se/ was realized not as [ɕe] but as [se] in the Kanto region.
Japanese: ジョアン・ロドリゲスは著書『日本大文典』において、関東方言では/se/が[ɕe]でなく[se]と認識されている、と述べている。
English: /T/ and/d/ are not dental sounds but, when followed by/i, u/, cause affricated changes as follows:
Japanese: /t/と/d/は歯音とは違うが、/i,u/が後続する場合には下記のような破擦音的変化を引き起こす。
English: Some theory insists that phonemes except for/s, z/ (/k, g/,/t, d/,/n/,/h, b/,/p/,/m/ and/r/) were palatalized.
Japanese: 音素/s,z/以外の/k,g/、/t,d/、/n/、/h,b/、/p/、/m/ならびに/r/においては口蓋化があったとする説もある。
English: Roland Lange advocates this theory on the basis of the Hangeul notation of e-vowels in "Iroha" published in Korea (1492).
Japanese: ローランド・ラングは朝鮮版『伊路波』（1492年刊）のエ列音のハングル表記を基にこれを主張している。
English: DA-row sounds such as/di/ and/du/ have been affricated and confused with ZA-row sounds such as/zi/ and/zu/.
Japanese: ダ行音の「ぢ」/di/「づ」/du/が破擦音化した結果、ザ行音の「じ」/zi/「ず」/zu/と混同するようになった。
English: Such confusion of "zi" and "di", or of "zu" and "du", is called the confusion of yotsu-gana (four kana characters).
Japanese: このように「じ-ぢ」「ず-づ」の区別がそれぞれ混乱することを四つがなの混同という。
English: According to "Arte da Lingoa de Iapam" by Joao Rodriguez, such confusion could already be seen in Kyoto in those days, but these four characters were almost correctly distinguished in written materials of Christians.
Japanese: ジョアン・ロドリゲスの『日本大文典』の記述によると当時の京都では既に混乱があったとされているが、キリシタン資料ではおおむね書き分けられている。
English: Some theories insist that voiced consonants are prenasalized in case of voiced plosives and fricative consonants, while others insist that vowels before voiced consonants become nasal vowels.
Japanese: 有声破裂音および摩擦音においては前鼻音化が生ずるとする説と前の母音が鼻母音になるとする説がある。
English: "Shokai Shingo", a Japanese language textbook in Modern Korea, tells that/b/,/d/,/z/ and/g/ in the Japanese language should be pronounced the same as Hangul letters representing mp, nt, nz and ngk respectively.
Japanese: また、朝鮮で作られた教本『捷解新語』では、日本語における/b/、/d/、/z/、/g/の発音をハングル文字でmp、nt、nz、ngkと読むように表記していた。
English: It is considered that a sound [p] existed in the Japanese language in the pre-literature period, but it turned into a fricative consonant [ɸ] as early as the end of Old Japanese and further changed into a sound [h] in Early Modern Japanese.
Japanese: 文献以前の日本語には[p]音が存在していたと考えられているが、これが上代日本語末期までには既に摩擦音[ɸ]となり、さらに近代日本語において[h]音へと変化して現在に至る。
English: In Middle Japanese the [p] sound, which had once disappeared before Old Japanese, appeared again but as it paralleled [ɸ], it was treated as a newly-introduced phoneme/p/, independent from [ɸ] (which is referred to as a phoneme/h/).
Japanese: 中世日本語には上代までに一旦消えた[p]が再び現れたが、[ɸ]と並立することから[ɸ]（音素/h/としておく）とは異なる、新しく導入された音素/p/として扱われる。
English: It is used not only in words of Chinese origin such as "sanpai" and "nippon" but also in mimetic words such as "pinpin" and "patto."
Japanese: 「さんぱい」「にっぽん」のような漢語だけでなく、「ぴんぴん」「ぱっと」などの擬態語にも使われる。
English: In the middle of the Heian period/h/ became unified with/w/ when not used at the beginning of words, so in the medieval period it was voiced when followed by/a/ and/o/ but not voiced before the other vowels.
Japanese: 語頭以外の/h/は平安時代中期に/w/と統合したため、中世には/a/・/o/が後に続くときには音になるが、その他の母音の前では発音されない。
English: As/i/ was unified with/wi/,/e/ and/ye/ with/we/, and/o/ with/wo/ in the process of transition from Early Middle Japanese to Middle Japanese, WA-row sounds were as follows:
Japanese: 中古日本語から中世日本語への変化の過程で、/i/と/wi/の統合、/e/と/ye/と/we/の統合、/o/と/wo/の統合が起こったため、ワ行は下記の通りとなる。
English: As to/w/ in sounds other than WA-row sounds,/kwa/ remains but/kwi/ and/kwe/ seem to have been unified with/ki/ and/ke/ respectively.
Japanese: /w/はワ行のほかには「くわ」/kwa/は残ったが、/kwi/、/kwe/はそれぞれ/ki/、/ke/に統合したようである。
English: As a result of successive fusion,/e/,/ye/ and/we/ were realized in every case and it is no longer possible to distinguish among them.
Japanese: 相次ぐ融合により、/e/と/we/および/ye/はすべてに実現し、区別がなくなった。
English: Originally syllables consisted of open syllables (a vowel, or a consonant plus a vowel) and it was not necessary to distinguish a syllable from a mora, but later words which ended with a consonant such as -m, -n and -t were newly borrowed from China.
Japanese: 従来、音節は開音節（母音、あるいは子音+母音）の形をとっていたので、音節とモーラを区別する必要はなかったのであるが、のちに-m、-n、-tなどの子音で終わる中国由来の外来語が新しくもたらされた。
English: Closed syllables, which consist of a consonant plus a vowel plus a consonant, were counted as syllables but moras were based on traditional open syllables.
Japanese: 子音+母音+子音という形を取る閉音節も一音節と数えられたが、モーラは以前からの開音節に基づいていた。
English: At first syllables which ended with -m and ones which ended with -n were distinguished, but in the middle of Middle Japanese they were assimilated into/N/.
Japanese: -mで終わる音節と-nで終わる音節は当初区別されていたが、中世日本語の中期には両者/N/と同化した。
English: Syllables which ended with -t, though being represented by "ti" or "tu," were represented only by "t" in Christian materials, so it is considered that such syllables either accompanied vowels/i/ and/u/ or were realized as [t], but some theories insist otherwise.
Japanese: tで終わる音節は「チ」「ツ」と表記されるが、キリシタン資料では主にtのみで書かれることから、母音/i/,/u/を伴うものと、[t]のままで実現する場合があったと考えられているが、異説もある。
English: Syllables which ended with -m or -n or -t, when followed by a vowel or semivowel, caused sandhi and the consonant made a liaison such as -mm-, -nn- or -tt-.
Japanese: -m、-n、-tで終わる音節のうち、母音または半母音が続くものには連声が起こり、子音が-mm-、-nn-、-tt-のように連音化した。
English: konnit + wa > konnitta
Japanese: konnitwa>konnittaこんにち+は→こんにった（今日は）
English: It is neither an inevitable change nor a one which occurs without exception, and a debate still continues as to detailed reasons why such a change occurred.
Japanese: 「必然的なものでも、例外なしに起こるものでもなかった」うえ、それらの変化が起こった詳しい原因についてはいまだ論争が続いている。
English: Appearing at comparatively early stage of language forming, euphonic changes had a great impact on figuration of verbs and adjectives of Middle Japanese.
Japanese: 言語生成の比較的早い段階でも現れることから、音便は中世日本語の動詞および形容詞の形態に大きな影響を及ぼした。
English: kuh-/kuhite/ >/kuute/,/kuQte/
Japanese: kuh-（食う）/kuhite/>/kuute/（食ひて→食うて）/kuQte/（食って）
English: There are two types of euphonic changes which may occur in "kuh-;" the first one can be often seen in dialects in the western Japan and the second one in the eastern Japan.
Japanese: 「食う」において起こりうる音便は二通り存在し、前者は西日本、後者は東日本の方言において顕著である。
English: In both of the examples above, -k- in the middle of the word is omitted.
Japanese: などがあるが、上記の例はいずれも、語中の音-k-が脱落したものである。
English: So many of the grammar rules from the ancient times disappeared that Japanese got closer to the today's form.
Japanese: 古代からの文法の多くが姿を消していき、これにより日本語は現在の形式により近いものとなっていった。
English: One example of great developments is the use of the attributive form instead of the end-form.
Japanese: 大きな発展の一例として、終止形の代わりに連体形を使用するようになったことが挙げられる。
English: Through a series of changes, two types of conjugations of adjectives were integrated into one;
Japanese: 一連の変化を通じ、二種類あった形容詞の活用が一つに統合されることとなった
English: "Aru," which had been treated as an irregular conjugation verb, started to change into a regular four-tier conjugation verb.
Japanese: 「ある」は変格活用動詞とされていたが、規則的な四段活用動詞へと変化を遂げていった
English: Throughout this period, two-tier conjugation verbs gradually changed into one-tier conjugation.
Japanese: しかしこの時代を通して徐々に二段活用の動詞が一段活用へと変化していった。
English: This process of change completed in Early Modern Japanese, and in a way it can be considered to be a change caused by the integration of an end-form and an attributive form.
Japanese: この変遷の過程は近代日本語において完成をみるが、ある面では終止形と連体形が融合した結果引き起こされた変化であるといえよう。
English: Their conjunctive form ends either with "-ku" or "-shiku."
Japanese: 連用形が「-く」で終わるものと「-しく」で終わるものの2種類である。
English: The two types of conjugations mentioned above were no longer distinguished and were unified due to the following three events.
Japanese: この2つの活用の区別をなくし統一をもたらしたものとして、以下3つの事象が挙げられる。
English: In the Kamakura period, end-forms of some adjectives with "shiku" conjugation took the form of "-shishi" (such as "migurushishi" or "tanomoshishi") but such a form was not generalized.
Japanese: なお鎌倉時代にはシク活用の終止形に「しし」という形が見られる（「見苦しし」「たのもしし」等）が、一般化はしなかった。
English: There are two types of conjugations of adjective verbs which was inherited from Early Middle Japanese.
Japanese: 中古日本語から受け継がれた形容動詞の活用の種類は2つある。ナリ活用、タリ活用である。
English: The most remarkable was transition of the attributive form from "-naru" to "-na."
Japanese: 最も顕著な変化として、連体形「-なる」から「-な」への遷移が挙げられる。
English: When the end-form and the attributive form were integrated, both of them acquired a new inflected form "-na."
Japanese: 終止形と連体形の合一が起きたとき、両者いずれもが新しい「-な」という変化形をとった。
English: Adjective verbs with "tari" conjugation were regarded as obsolete and subsequently were used less and less.
Japanese: 「-たり」型の形容動詞は古いものとみなされ、以降使用が減少していった。
English: A historical change in which, as to the attributive and classical imperfective forms of upper and lower bigraded conjugations, the ending "-uru," "-ure" became "-iru," "-ire"respectively and finally developed into inflected forms similar to those of upper and lower bigraded conjugations is called a change of two-tier conjugation verbs into one-tier.
Japanese: 下二段活用・上二段活用の連体形・已然形において、-uru・-ureの語尾が-eru・-ere、-iru・-ireの形になってそれぞれ下一段、上一段と同じような活用形になる史的変化のことを二段活用の一段化という。
English: Such a change could be seen as early as the end of the Heian period and the Muromachi period but was not common yet, and gradually became generalized through the Muromachi and Edo periods.
Japanese: 平安末期や鎌倉時代には既に例が見られるが、まだ一般的ではなく、室町時代、江戸時代を経てゆっくりと一般化していった。
English: Both in Old Japanese and in Early Middle Japanese a sentence was sometimes terminated with an attributive form, especially in conversation, and such usage was generalized almost completely in the Muromachi period.
Japanese: 連体形で文を終止することは、上代日本語にも中古日本語にも会話文を中心に見られるが、室町時代にはほぼ一般化した。
English: Until Early Middle Japanese a sentence terminated with an attributive form produced suggestiveness and a lingering feeling, but it became almost the same as a sentence terminated with an end-form after termination with an attributive form was generalized in Middle Japanese.
Japanese: 中古までの連体形終止には余情・余韻が感じられたが、中世に一般化すると終止形終止の機能と変わりのないものになった。
English: The classical imperfective form, previously used to describe what has already occurred (Fixed Condition), started to be used to describe what has not occurred yet (Hypothetical Condition), and Fixed Condition was gradually diminishing.
Japanese: 已然形は既に起こっていることを述べる場合（確定条件）に用いられたがこの用法は徐々に衰え、いまだ起きていないことについて述べる仮定条件として使われるようになった。
English: In the conditional form of Modern Japanese, only Hypothetical Condition remained and Fixed Condition was no longer used.
Japanese: 現代日本語の仮定形においてはもはや仮定条件のみが存在し、確定条件は使用されていない。
English: Fixed Condition is now represented by the usage of "tokoro," "hodoni" and "ahida."
Japanese: 確定条件は「ところ」「ほどに」「あひだ」などの語法で表すようになった。
English: The imperative form was previously used with no suffix or with a suffix "-yo."
Japanese: 命令形は古来、接尾辞なし、あるいは接尾辞「-よ」をつけて用いられた。
English: In Middle Japanese, a suffix "-i"started to be used for verbs with lower bigraded conjugation or with KA-row or SA-row irregular conjugation.
Japanese: 中世日本語においては下二段・カ変・サ変活用の動詞に接尾辞「-い」が用いられるようになった。
English: In "Arte da Lingoa de Iapam" Rodriguez pointed out that a suffix "-yo" was sometimes substituted by "-ro" (for example, "miyo => miro").
Japanese: ロドリゲスは『日本大文典』で、「見よ→見ろ」のように、「-よ」が「-ろ」により代用されることもあると指摘している。