nntsuzu/KFTT huggingface dataset:
English: The view that it was compiled between August of 1330 and September of 1331in the Kamakura period is dominant, but there are many different opinions, any of which are not accepted widely.
Japanese: 鎌倉時代、1330年8月から1331年9月頃にまとめられたとする説が主流であるが、数多くの説があり定説はない。
English: It should have been written by Kenko, who was in the middle years of his life, but some people claim that it includes the writings written when he was young.
Japanese: 中年期の兼好が著した事になるが、若い時代に書いた文章も含まれているという説もある。
English: In the preface, he wrote that 'he is going to write essays just to kill his time,' but in fact, he pursued a meaningful life through his contemplation, miscellaneous thoughts, and anecdotes.
Japanese: 序段には兼好が「つれづれなるままに」（退屈を凌ぐために）書いたとあるが、実際は兼好の思索や雑感、逸話を通じて、いかに生きるかを探求する作品。
English: The work covers a wide range of topics, reflecting Kenko's various aspects as a poet, a classical scholar, and a calligrapher.
Japanese: 内容は兼好が歌人、古典学者、能書家などであったことを反映し、多岐にわたる。
English: Because Kenko YOSHIDA set up his residence at Narabigaoka hill, where Ninna-ji Temple is also located, the work contains a lot of stories concerning the Ninna-ji Temple.
Japanese: 吉田兼好が仁和寺がある双が丘（ならびがおか）に居を構えたためか、仁和寺に関する説話が多い。
English: During the Edo period, it became popular with the townspeople, having a great influence on Edo culture; Bansai KATO wrote "Tsurezuregusa sho" (a commentary on Tsurezuregusa) in 1661 and Kigin KITAMURA wrote a commentary called "Tsurezuregusa mondan sho" in 1667.
Japanese: 江戸時代には加藤磐斎の『徒然草抄』（1661年、寛文1年）北村季吟の『徒然草文段抄』（1667年、寛文7年）といった注釈書が書かれ、町人などに愛読されて江戸期の文化に多大な影響を及ぼした。
English: Therefore most of the manuscripts were created during the Edo period, and the ones transcribed during the Muromachi period were few.
Japanese: それだけに写本は江戸時代のものが多く、室町時代のものは非常に少ない。
English: Sadayo (Ryoshun) IMAGAWA, Kyushu Tandai (local commissioner) of the Muromachi bakufu (Japanese feudal government headed by a shogun) was on friendly terms with Meishomaru, a disciple of Kenko YOSHIDA, so it is natural for him to have been involved in the compilation of the work after the death of Kenko.
Japanese: 室町幕府の九州探題である今川貞世（了俊）は吉田兼好の弟子の命松丸とも親交があり、兼好の没後、編纂に関わっているとも言われるはずである。
English: Tsurezurenaru mama ni higurashi suzuri ni mukaite kokoro ni utsuriyuku yoshinashikoto wo sokohakatonaku kakitsukure ba ayashiu koso monoguru hoshikere.
Japanese: つれづれなるまゝに、日暮らし、硯にむかひて、心にうつりゆくよしなし事を、そこはかとなく書きつくれば、あやしうこそものぐるほしけれ。
English: With time on my hands, I am spending a whole day before the inkstone (holding a writing brush), jotting down random thoughts that come across my mind, which makes me feel strange and demented.
Japanese: 〔暇をもて余しているままに、一日中（筆を執って）硯に向かって、心に浮かんでくるとりとめのない事を、何となく書き綴ると、怪しく物狂おしい。〕
English: "New Collection of Ancient and Modern Poetry" was compiled by order of Emperor Gotoba in the early Kamakura period.
Japanese: 『新古今和歌集』（しんこきんわかしゅう）は鎌倉時代初期、後鳥羽天皇の勅命によって編まれた勅撰和歌集。
English: It was a collection of poems modeled after "Kokinshu," and was compiled to complete the seven collections, attempting to restore waka poetry to its former elegant status because it was being invaded by the newly rising genres of poetry, renga (linked verse) and imayo (an ancient verse form consisting of four lines, each divided into two parts of seven and five syllables).
Japanese: 『古今集』を範として七代集を集大成する目的で編まれ、新興文学である連歌・今様に侵蝕されつつあった短歌の世界を典雅な空間に復帰させようとした歌集。
English: Along with 'Manyoshu (Collection of Ten Thousand Leaves)' and 'Kokin,' it produced one of the three major styles of poetry--'Shinkokincho' (tone poems seen in 'New Collection of Ancient and Modern Poetry')--and had great influence not only on waka poems but also on the later renga, haikai (seventeen-syllable verse) and yokyoku (Noh song).
Japanese: 「万葉集」「古今」と並んで三大歌風の一である「新古今調」を作り、和歌のみならず後世の連歌・俳諧・謡曲へ絶大な影響を残した。
English: The ex-emperor ordered the following six people to serve as anthologists: Michitomo HORIKAWA, FUJIWARA no Ariie, FUJIWARA no Sadaie, FUJIWARA no Ietaka (Junii (Junior Second Rank)), Masatsune ASUKAI, and Jakuren, who died prior to the completion of the work.
Japanese: 堀川通具・藤原有家・藤原定家・藤原家隆(従二位)・飛鳥井雅経・寂蓮の六人に撰者の院宣が下ったが、寂蓮は完成を見ずに没した。
English: When the Wakasho Agency was established, 11 Yoryudo (clerks), including the anthologists, and the kaigo (post) MINAMOTO no Ienaga, were chosen, and the ex-emperor Gotobain was deeply involved in the work, such as in choosing poems.
Japanese: 和歌所設置に際し、撰者を含む十一名の寄人と開闔源家長が任命され、後鳥羽院自身も歌を親選したりして深く関わった。
English: Most of the people in the inkadan (poetry circles of In) joined in the compilation, and the work of revision and creation continued over a span of several decades, which was unusual among the Hachidaishu.
Japanese: 院歌壇の歌人のほとんどが編纂に参加し、何十年にもわたって改訂工作が続いたという、八代集の中でも稀有な存在。
English: In July 1201, the Wakasho Agency was established, and in November of the same year the Imperial command to compile a collection was issued; in 1204 poems were chosen, and on March 26, 1205 it was completed and submitted to the ex-emperor for inspection, and the Kyoen (a party following the selection of poetry) was held.
Japanese: 建仁元年（1201年）7月和歌所を設置、同年11月撰進の院宣が下り、元久元年（1204年）に選定、翌2年3月26日完成し奏覧・竟宴。
English: The first term - from 1201, when the order was issued, until the anthologists collected the poems.
Japanese: 第1期-建仁元年（1201年）の下命時から、撰者達が歌を集めてくるまでである。
English: The poems were chosen from among the excellent poems that had not been selected for the collections of poems by Imperial command, the Six Hundred Sets of Poetry Match (held by Ryokei (FUJIWARA no Yoshitsune)), and the One Thousand Five Hundred Sets of Poetry Match (held by the Retired Emperor).
Japanese: 代々の勅撰集に漏れた秀歌や、六百番歌合（良経主催）と千五百番歌合（上皇主催）が撰歌の母胎となった。
English: It was finally completed between 1210 and 1216.
Japanese: 承元四年（1210年）－建保四年（1216年）の間に最終的に完成した。
English: The poems were skillfully arranged: volumes of four seasons were arranged in the order of seasonal transition, Koiuta was arranged according to the development of love, and poems of ancient and contemporary were placed in alternating order.
Japanese: 配列は巧みで、四季巻は季節の推移順、恋歌は恋の進行程度順に並べられており、古代の歌人と当時の歌人を交互においてある。
English: Among the selected poems, 94 of Saigyo's poems were chosen, which was the most, followed by Jien, FUJIWARA no Yoshitsune, FUJIWARA no Toshinari, Empress Shikishi (the most among the female poets), FUJIWARA no Sadaie, Ietaka, Jakuren and the Retired Emperor Gotoba.
Japanese: 入集した歌人のうちでは西行の作が94首と最も多く、以下慈円、藤原良経、藤原俊成、式子内親王（女流最多）、藤原定家、家隆、寂蓮、後鳥羽上皇の順である。
English: The characteristics of Shinkokincho (tone poems seen in 'New Collection of Ancient and Modern Poetry') are as follows: aesthetic, emotional, fantastic, pictorial, cadenced, symbolic and artificial.
Japanese: 新古今調といえば、唯美的・情調的・幻想的・絵画的・韻律的・象徴的・技巧的などの特徴が挙げられる。
English: Sadaie developed the idea of Yugen (subtle and profound beauty) or Ushin, which was advocated by his father Toshinari, and established 'suggestiveness and fascinating style,' being greatly reflected in the collected poems.
Japanese: 定家の父俊成によって提唱された幽玄、有心の概念を、定家が発展させて「余情妖艶の体」を築き上げ、これが撰歌に大きく反映されている。
English: Additionally, it is sometimes pointed out that there is a pathos in viewing downfall and nature along with the downfall of the aristocracy, whose power in politics had been taken away since establishment of the Kamakura shogunate.
Japanese: また、鎌倉幕府成立以降、政治の実権を奪われた貴族社会の衰退の中で、滅びや自然への見方に哀調があると指摘される。
English: Moreover, around this time poems full of flowery poetic devices were composed because daiei (poetry composed on a set theme) events were held frequently.
Japanese: またこの頃は題詠が盛んに行われていたことにより、より華やかな技巧にあふれている。
English: Because of daiei, realistic poems depicting the changes of emotion were being outmoded, and complex symbolic poems elaborated in the given theme came to predominate.
Japanese: 題詠によって現実的な心情変化の歌ではなく、定められたお題の中でより複雑に工夫された象徴的な歌が主流になって行った。
English: Honkatori (adaptation of a famous poem) is a remarkable feature of it, having been facilitated by a long history of the waka poem since Jodai.
Japanese: 特に上代以来の数々の和歌の歴史が可能にした数多くの本歌取りに特徴がある。
English: Regarding poetic devices, taigendome (to use a noun in the end of a poem), which makes poems resonant, shokugire (to distinguish the meaning between the first and second phrases) and sankugire (to distinguish the meaning between the third and fourth phrases) in the seven-and-five syllable meter were used.
Japanese: また技法として、余韻・余情をかきたてる体言止め、七五調の初句切れ・三句切れなどが使われている。
English: Even after the Retired Emperor Gotoba was exiled to Oki Province because of the Jokyu no Ran War (1221), he spent eighteen years bringing the collection to a high level of refinement, and issued an Imperial edict, stating that the new collection, which eliminated about 400 poems, was the authentic New Collection of Ancient and Modern Poetry (See 'Okibon with annex').
Japanese: 承久の乱（1221年）により隠岐国に流された後も後鳥羽上皇は十八年の時間をかけて彫琢を加え、新古今和歌集から約400首ほど除いたものこそ正統な新古今和歌集であるという詔を出した（「隠岐本識語」参照）。
English: This article doesn't mention Okibon, and today it is considered that the one completed first is authentic.
Japanese: この記事に述べられているのは隠岐本ではなく、現在では完全成立直後のものが正統とされている。
English: KI no Tsurayuki (866 or 872? - June 19, 945?) was a poet and essayist from the early to the middle Heian period.
Japanese: 紀貫之（きのつらゆき、貞観(日本)8年または14年（866年、872年）頃?-天慶9年5月18日(旧暦)（945年6月19日）?）は、日本の平安時代前期から中期の歌人、随筆家である。
English: In 905, by order of Emperor Daigo, he compiled "Kokinwakashu (Collection of Ancient and Modern)," the first collection of poems by imperial command, with KI no Tomonori, MIBU no Tadamine and OSHIKOCHI no Mitsune, and wrote the kanajo (preface written in Hiragana).
Japanese: 905年（延喜5年）、醍醐天皇の命により初の勅撰和歌集『古今和歌集』を紀友則、壬生忠岑、凡河内躬恒と共に編纂し、平仮名による序文である仮名序を執筆した。
English: It began with the following line, which exerted a great influence on posterity: 'Waka has its roots in the human heart and flourishes in the myriad leaves of words.'
Japanese: 「和歌は、人の心を種として、万の言の葉とぞなれりける」で始まるそれは、後代に大きな影響を与えた。
English: Also, his waka poem was collected in "Ogura Hyakunin Isshu (A Hundred Poems by a Hundred Poets)" (I'm not sure whether your mind is the same as before; however the Japanese plum, which I know well because I've been here several times, blooms finely and perfumes sweetly to welcome me; would you come around to help me stay up for the night?).
Japanese: また、『小倉百人一首』にも和歌が収録されている（人はいさ心も知らずふるさとは花ぞ昔の香ににほひける）。
English: In the time when it was common for men to write in Chinese characters, he pretended to be a woman and wrote, in Hiragana, a journal of his journey from Tosa Province to Kyoto.
Japanese: 男は漢文を書くのが常識とされていた時代に、女の作者を装って土佐国から京都までの紀行を平仮名で綴った。
English: In the history of Japanese literature, it was probably the first prose written in Hiragana, and it had a great influence on the later literature of diaries and essays, contributing to the development of literature by female authors.
Japanese: 日本文学史上、おそらく初めての平仮名による優れた散文であり、その後の日記文学や随筆、女流文学の発達に大きな影響を与えた。
English: He was born between 866? and 872. (?)
Japanese: 866年(貞観_(日本)8)?-872年(貞観14)?、このころ生まれる？
English: April 905: He compiled "Kokinwakashu" as one of the editors by order of Emperor Daigo.
Japanese: 905年(延喜5)4月、醍醐天皇の勅命により『古今和歌集』を選者の1人として編纂。
English: In "The Tosa Diary," KI no Tsurayuki wrote about his thoughts and the events that occurred on his journey from Tosa Province to Kyoto.
Japanese: 土佐日記（とさにっき）は、紀貫之が土佐の国から京都まで帰京する最中に起きた出来事や思いなどを書いた日記。
English: Tsurayuki, who had been the kokushi of Tosa Province from 930 to 934, wrote about his 55-day journey from Tosa to Kyoto after he had served out his term, pretending to be a female writer and using Hiragana.
Japanese: 930年（延長(元号)8年）から934年（承平4年）土佐国の国司だった貫之が、任期を終えて土佐から京へ戻るまでの55日間の紀行を、女の作者を装って平仮名で綴った。
English: In this time it was common for men to write a diary in Chinese characters, and that is why he wrote it pretending to be a woman who served him.
Japanese: この時代男性の日記は漢文で書くのが当たり前であり、そのため、紀貫之に従った女性と言う設定で書かれた。
English: The contents of the writing are diverse, but he gave particular emphasis to his love for his daughter, who passed away in Tosa Province.
Japanese: 執筆の内容はさまざまであるが、中心には土佐国で亡くなった愛娘を思う心情である。
English: It is also considered that in order to write his lament objectively, he didn't write it from the male point of view such as Tsurayuki himself or his servant, but from a court lady's view.
Japanese: この悲嘆を距離を置いて描く為に、男性の自身や従者でなく、仕える女房という体裁をとったとも考えられている。
English: In the history of Japanese literature it was probably the first "diary literature," but it was approximate to a travelogue rather than the present diary.
Japanese: 日本文学史上、おそらく初めての『日記文学』であったが、現代の日記というより紀行に近い要素ももっていた。
English: It had a great influence on the later writing in Hiragana and the development of women's literature.
Japanese: その後の平仮名による表現、特に女流文学の発達に大きな影響を与えている。
English: There is a strong possibility that it had great influences on "Kagero Diary (The Gossamer Years)," "Izumi Shikibu Diary," "Murasaki Shikibu Diary," "Sarashina Nikki (Diary)," etc.
Japanese: 『蜻蛉日記』、『和泉式部日記』、『紫式部日記』、『更級日記』などの作品にも影響を及ぼした可能性は高い。
English: The manuscript in Tsurayuki's own handwriting has not survived, but it had been preserved in the treasure house in the Rengeoin until the end of the fifteenth century, and the following four lines of manuscript, copied by FUJIWARA no Sadaie (1235), FUJIWARA no Tameie (1236), Munetsuna MATSUMOTO (1490) and Sanetaka SANJONISHI (1492), are well known.
Japanese: 貫之自筆本は現存しないが、15世紀末までは蓮華王院の宝蔵に蔵されており、その間に藤原定家（1235年）・藤原為家（1236年）・松本宗綱（1490年）・三条西実隆（1492年）らにより書写された以下の4系統が知られる。
English: Above all, Teikabon includes two-page writing (following the model) at the end of the book, and it came to be very important in order to know Tsurayuki's diction today, since the original is lost.
Japanese: わけても定家本は巻末の2面を臨摸しており、原本が失われた今となっては貫之の文字遣いを知ることの出来る極めて貴重な存在となっている。
English: Incidentally, Sadaie rewrote the entire manuscript except for the part in which he followed the model, depending not on the original use of Kana but on the Teika Kanazukai (the distinction of using Kana in the same pronunciation), which he invented, while his son Tameie didn't write by following the model but copied the manuscript in the same way of using Kana as the original; thus the copy written by Tameie is considered to be the best version of the book as a whole.
Japanese: ちなみに、臨摸した部分以外については、定家は原本の仮名遣によらず自ら考案した定家仮名遣に従って書き直しているが、子の為家の書写本は臨摸まではしていないものの、原本の仮名遣通りに書写しているため、本全体としては為家書写本が最善本という評価を与えられている。
English: Kikan IKEDA chose the Shohon (premised book) among more than 120 versions of the manuscript in order to reconstruct the original work.
Japanese: 池田亀鑑は諸本の研究の上、120種以上に及ぶ写本群から自筆本再構のために証本を選んだ。
English: Sanetaka SANJONISHI put punctuation marks and shoten (marks to add Kanji to show Shisei) when he copied it, and he also collated it.
Japanese: 三条西実隆は、筆写のおり句読点や声点を施し、ほかにも校合が試みられている。
English: Around the seventeenth century, when the study of commentary became popular, "Oral Records of the Tosa Diary" was written by Yuzuru KISHIMOTO in the various shoron, becoming the first example.
Japanese: 元和(日本)・寛永のころになって註釈的研究が盛んになり、岸本由豆流が諸抄論においてあげた『土佐日記聞書』などは、その最初のものである。
English: "The Tosa Diary's Experiences Abstract," written by Bansai KATO, doesn't have the year of creation in the book, but it seems to have been written around the same time that "The Tosa Diary with Note" by Bokuyu HITOMI, which has a postscript dated 1661, and "The Tosa Diary's Abstract" (by Kigin KITAMURA) were completed.
Japanese: 加藤盤斎の『土佐日記見聞抄』は年代がなく成立年は不明であるが、万治4（1661年）年の跋がある人見卜幽の『土佐日記附注』、北村季吟の『土佐日記抄』などと同時期のものであるらしい。
English: Norinaga MOTOORI said there seemed to be an influence of "The Tosa Diary with Note" on "The Tosa Diary's Abstract," but Yuzuru KISHIMOTO pointed out that it was impossible to explain the differences between the venerable classics quoted in both books.
Japanese: 本居宣長は『土佐日記抄』には『土佐日記附注』の影響が見られるとするが、岸本由豆流は、両書で引用している古典籍の相違が説明できないと指摘している。
English: "The Tosa Diary with Comments," made in May 1627, was nearly the same as "The Tosa Diary with Notes."
Japanese: 寛永4年5月に刊行された『土佐日記首書』は、ほとんど『土佐日記抄』のままである。
English: Umaki KATO wrote "The Tosa Diary's Interpretation," in which the views of both Keichu and KAMO no Mabuchi were included.
Japanese: 加藤宇万伎は、契沖と賀茂真淵との説を併記した『土佐日記註』を書いた。
English: Moreover, Mabuchi's theory was rewritten by Nahiko KATORI and brought out as "The Tosa Diary Overheard" and "The Tosa Diary Verbatim Record."
Japanese: さらに真淵の説は、楫取魚彦によって、別に書き記され、『土佐日記打聞』や『土佐日記聞書』となった。
English: KISHIMOTO explained the differences between "The Tosa Diary's Interpretation" and "The Tosa Diary Overheard," saying that 'What Nahiko wrote is the earlier theory of Agatai no Okina, and what Umaki wrote is the later one.'
Japanese: 『土佐日記註』と『土佐日記打聞』とで説の相違があるのを、岸本は、「魚彦がしるせるは県居翁の早くの説、宇万伎がしるせるは、後の説なるべし」としている。
English: Yuzuru KISHIMOTO later published "A Study of the Tosa Diary" (around 1815), picking and choosing some abstracts and checking them very closely, while Mitsue FUJITANI wrote her major work, "Study of the Tosa Diary."
Japanese: 岸本由豆流は、のち、『土佐日記考証』（文化(元号)12（1815年）年ごろか）をあらわし、諸抄を取捨選択、綿密な考証をこころみ、富士谷御杖は『土佐日記灯』をあらわして一大研究をうちたてた。
English: Kageki KAGAWA also wrote "The Tosa Diary's New Remarks" (in 1823), ascertaining historical evidence in detail.
Japanese: 香川景樹も『土佐日記創見』（文政6（1823年）年）を著し、綿密な考証をなしている。
English: These studies are not only brilliant achievements in textual criticism and as studies of the versions of the book, but they also take a closer look at the issue of style and motive.
Japanese: これらの研究は本文批評や諸本研究上高い成かをもたらしただけでなく、文体、動機などにまで論を推し進めている。
English: In the Meiji period Maedakebon and Sanjonishikebon were revealed, and textual criticism was conducted by Junichi TACHIBANA and Yoshio YAMADA, etc.
Japanese: 明治にいたって前田家本や三条西家本が公開され、橘純一や山田孝雄などによって本文研究が進められた。
English: Above all, Kikan IKEDA wrote "A Study on Critical Dealing with the Classics" (1941), concerning himself with the Seikeishookubon, which is said to have been copied true to the original manuscript, and brought his study near to completion.
Japanese: わけても、原本を忠実に写したとされる青谿書屋本などをもとにして池田亀鑑がなした『古典の批判的処置に関する研究』（1941年）にいたってほとんど完成するに至った。
English: ONO no Komachi (circa 809 - circa 901) was a female poet in around the first half of the Heian period, in the ninth century.
Japanese: 小野小町（おののこまち、大同(日本)4年（809年）頃-延喜元年（901年）頃）は、平安前期9世紀頃の女流歌人。
English: She was also well known for her beauty, and there are many anecdotes such as Nanakomachi, which are often used as the subject matter of Noh and Joruri (dramatic ballad).
Japanese: また彼女は絶世の美女として七小町など数々の逸話があり、能や浄瑠璃などの題材としても使われる。
English: In the preface of 'Kokinwakashu (Collection of Ancient and Modern Poetry),' KI no Tsurayuki praised her poems for their purity, which reminded him of the period of 'Manyoshu (Collection of Ten Thousand Leaves)' and delicate dynastic romanticism.
Japanese: 「古今和歌集」序文において紀貫之は彼女の作風を、「万葉集」の頃の清純さを保ちながら、なよやかな王朝浪漫性を漂わせているとして絶賛した。
English: There are many different conjectures about her birthplace, but the present Ono, Yuzawa City, Akita Prefecture (Ono, Old Ogachi-machi, Ogachi-gun, Akita Prefecture) is considered to be most likely, and a local tradition says that she also spent her later years in the same area (however, one tradition holds that says she was born in Echizen City, Fukui Prefecture).
Japanese: 生まれには多数の説があるが現在の秋田県湯沢市小野（旧雄勝郡雄勝町(秋田県)小野）という説が主流となっており、晩年も同地で過ごしたとする地域の言い伝えが残っている（福井県越前市生まれという説もある）。
English: The names 'Akitakomachi,' a kind of rice, and 'Komachi (Train),' a nickname for the Akita Shinkansen bullet train, are derived from her name.
Japanese: 米の品種「あきたこまち」や、秋田新幹線の列車愛称「こまち(列車)」は彼女の名前に由来するものである。
English: The city has a building of 'Komachido,' which was named after ONO no Komachi and has become a tourist spot.
Japanese: 同市には小野小町にちなんだ建造物「小町堂」があり、観光の拠点となっている。
English: Old Ogachi-machi holds 'Komachi Festival' annually on the second Sunday of June as part of the Machiokoshi (to activate the economy and culture of a district).
Japanese: 旧雄勝町では、町おこしの一環として、毎年6月の第2日曜日に「小町まつり」を開催している。
English: However, there is no evidence that ONO no Komachi was born in Ono, Yuzawa City, Akita Prefecture.
Japanese: しかし、秋田県湯沢市小野が小野小町の生誕地であるかどうかの確証はない。
English: There are many different local traditions throughout Japan that say this is the place where ONO no Komachi was born, like Onomachi, Fukushima Prefecture, and Oaza Ono, Nihari Town, Nihari-gun, Ibaraki Prefecture.
Japanese: 出身地はこの他にも福島県小野町とする説、茨城県新治郡新治村大字小野とする地元の言い伝えなど、生誕伝説のある地域は全国に点在しており、数多くの異説がある。
English: A tradition handed down in the Tohoku region is perhaps based on the description of 'a daughter of Dewa no Kuni Gunji' in the catalogue of poets in "Kokinwakashu," but it is also considered that somebody set her birthplace as far away as possible Japan in order to enhance the mystique of ONO no Komachi; therefore, it is difficult to validate such a description.
Japanese: 東北地方に伝わるものはおそらく『古今和歌集』の歌人目録中の「出羽国郡司娘」という記述によると思われるが、それも小野小町の神秘性を高めるために当時の日本の最果ての地の生まれという設定にしたと考えられてもいて、この伝説の裏付けにはなりにくい。
English: Ono, in Kyoto City's Yamashina Ward, is said to be a place where the ONO clan flourished, and there is conjecture that Komachi spent her later years in this area.
Japanese: 京都市山科区小野は小野氏の栄えた土地とされ、小町は晩年この地で過ごしたとの説もある。
English: The poem mentioned above, 'The flowers lost their colors …,' is considered to reflect her lamentation of aging, like the fading of flowers.
Japanese: 前述の「花の色は..」の歌は、花が色あせていくのと同じく自分も年老いていく姿を嘆き歌ったものとされる。
English: Additionally, Komachi Dera (Fudaraku-ji Temple) has a portrait of a decrepit ONO no Komachi and the Commemoration Tower of Komachi.
Japanese: 他にも、小町寺（補陀洛寺）には、小野小町老衰像と小町供養塔などがある。
English: Komachimono' in Noh contains 'Soshiarai Komachi, 'Kayoi Komachi,' ' Omukomachi,' 'Sekidera Komachi,' 'Sotoba Komachi,' and so on.
Japanese: 能の「小町物」には｢草紙洗小町｣「通小町」「鸚鵡小町」「関寺小町」「卒都婆小町」などがある。
English: These are classified into the following three groups: the one which praises ONO no Komachi for her excellent waka poem; the one which deals with FUKAKUSA no SHOSHO's come-and-go in a hundred nights; the one which deals with ONO no Komachi who has become a beggar in her later years.
Japanese: これらは和歌の名手として小野小町を讃えるもの、深草少将の百夜通いをモチーフにするもの、年老いて乞食となった小野小町に題材をとるものに大別される。
English: The last group was widely spread in the medieval society as 'Decrepit and Go-down Story,' which had been gradually formed by Noh writers.
Japanese: 後者は能作者らによって徐々に形作られていった「衰老落魄説話」として中世社会に幅広く流布した。
English: Another name for the Kusoshi Emaki (picture roll of poetry that describes the nine steps of backing a dead body into the ground) is 'ONO no Komachi's Kusozu (a painting that describes the nine steps of backing Komachi's dead body into the ground),' which was made during the Kamakura period and depicts the dead body of a once-beautiful woman, exposed to the rain and wind, eaten away by animals and infested with maggots, being rotten and weathered.
Japanese: 鎌倉時代に描かれた、野晒しにされた美女の死体が動物に食い荒らされ、蛆虫がわき、腐敗して風化する様を描いた九相詩絵巻は別名を「小野小町九相図」と呼ばれる。
English: Another likely model of the picture is Empress Danrin, and both of them are considered to have composed the poem, 'When I die, please don't burn or bury me. Leave me in the field to ease the hunger of starving dogs.'
Japanese: モデルとしては他に檀林皇后も知られ、両人とも「我死なば焼くな埋むな野に捨てて　痩せたる（飢ゑたる）犬の腹を肥やせ（よ）」の歌の作者とされる。
English: It is based on the tradition that ONO no Komachi was rumored not to have a 'hole (vagina)' because she didn't give her heart to the men who made approaches to her, so a pin without a hole is called 'Komachibari.'
Japanese: 言い寄ってくる多くの男に小野小町がなびくことがなかったため、穴（膣）のない女と噂されたという伝説に基づき、穴のない針のことを「小町針」と呼んだことから来ているというものである。
English: The title was 'The flowers lost their colors, while I set myself in this life and became lost in thought as time went by in vain; during spring the rain continually fell down.'
Japanese: タイトルが、「花の色は　うつりにけりな　いたづらに　わが身世にふる　ながめせし間に」である。
English: Miyuki NAKAJIMA appeared in the poster wearing a 12-layer ceremonial kimono, pretending to be ONO no Komachi and showing her back.
Japanese: ポスターには十二単を着て小野小町に扮した中島みゆきが後姿で写っている。
English: The story borrowed motifs from a tradition of ONO no Komachi and an asaji ga yado (a squalid house covered with cogon) in "Ugetsu Monogatari (Tales of Moonlight and Rain)," written by Akinari UEDA.
Japanese: ストーリーは小野小町の伝承と、上田秋成の雨月物語の中の浅茅が宿をモチーフにしている。
English: The musical "Onono Komachi" was presented by Warabi-za in 2007, written by Makiko UCHIDATE and starring Chiyo TSUBAKI.
Japanese: ミュージカル小野小町（わらび座　2007年上演の舞台。内舘牧子脚本、椿千代主演）
English: It depicts Komachi as a strong woman who was not just beautiful but lived according to her own terms, being based on her poem, 'When I die, please don't burn or bury me. Leave me in the field to ease the hunger of starving dogs.'
Japanese: 小町が残した「我死なば焼くな埋むな野にさらせ痩せたる犬の腹を肥やせよ」の歌から、自分の人生を生ききった美しいだけではない強い女性として小町を描いている。