nntsuzu/KFTT huggingface dataset:
English: Some were written in Chinese, but most of them were written in Japanese; there are many shomono which retain the colloquial language of those days.
Japanese: 文体は漢文によるものもあるが、多くは和文、それも当時の口語の様相をそのままにとどめたものが多い。
English: Moreover, unique styles of writing were adopted such as using '--zo,' as a binding particle at the end of a sentence.
Japanese: また「～ゾ」と、係助詞ゾを文末終止に用いた独特の文体が用いられている。
English: These are treated as a distinct genre of shomono, and are followed by later works which have, in fact, nothing to do with lectures.
Japanese: これらの特色は後期の、実際には講義とはかかわりを持たなかった抄物においても踏襲されるなど、抄物というジャンルを特色づけるものとして扱われている。
English: When shomono were written in Japanese, use of the katakana syllabary was common; these are sometimes called 'kanagaki shomono' (shomono written in kana).
Japanese: 和文の場合には片仮名書きが一般的で、こうした抄物を特に「仮名書抄物」と称することもある。
English: The works which were annotated or presented by a lecturer were mostly Chinese classics, Buddhist literature, and a part of national literature.
Japanese: 講義・註釈の対象となった作品は、漢籍と内典および一部の国書が中心である。
English: Most of the writers were connected with the family of Myogyo-do (the study of Confucian classics) experts, and Nobukata KIYOHARA played an especially important role in this genre.
Japanese: 製作者の大半は明経道博士家にかかわりを持つ人々であり、特に清原宣賢がこの分野において果たした役割は大きい。
English: Annotations made in the early years were mainly based on older annotations, but as time progressed the results of newer annotations came to be added.
Japanese: 註の内容としては、初期にはもっぱら旧註によるものが主で、後期にいたって新註の成果が加えられるようになった。
English: However, even in this case, shomono made in the later years were characterized by containing both old and new annotations, and as a rule, the influence of the older annotations was dominant.
Japanese: しかし、その場合にも旧註と新註が併記されているところに特色があり、概していえば旧註の勢力のほうがつよい。
English: In the category of history books, many shomono were left mainly as part of a series of biographies in "Shih-chi" (the Historical Records) and "Han Shu" (The History of the Han).
Japanese: 史書においては『史記』および『漢書』の列伝を中心とする部分に多くの抄物が残る。
English: Initially, some shomono were made by the family of Kidendo (the study of the histories) experts, but gradually priests of the Five Zen Monasteries took responsibility for the shomono.
Japanese: 初期には紀伝道博士家の手になるものがあるが、しだいに五山僧がこの分野の抄物を担うようになっていった。
English: Among literary works, such as the poetry of Northern Sung "Kobun Shinpo," "Santaishi," "The Song of Everlasting Sorrow," Su Shi (Chinese poet), and Huang Tingjian (Chinese calligrapher, painter, and poet) were enthusiastically annotated, and many of them still exist today.
Japanese: 集書（集部）では『古文真宝』、『三体詩』、『長恨歌』、蘇軾・黄庭堅など北宋詩などに盛んに抄物が行われ、現存する量も多い。
English: Anthologies of Japanese and Chinese poetry centering on priests of the Five Zen Monasteries were independently edited, and annotations on these anthologies were sometimes made ("Selected Chinese Saplings Poems" and so on).
Japanese: また五山僧を中心とする日本詩人や中国詩人の詞華集が独自にあまれ、これに対する抄物が作られることもあった（『中華若木抄』など）。
English: Literary works were mainly annotated by priests of the Five Zen Monasteries, and compared with the annotation of Chinese classics made in the late Edo period, they seem to have their own tendencies; for example, shomono annotated "Kobun Shinpo" instead of "A standard of Composition," "Santaishi" instead of "Selected Poems of the Tang Dynasty," and Northern Sung poetry instead of Southern Sung poetry.
Japanese: 子書においても、抄物の大きな担手は五山僧であり、江戸後期の漢文註釈と比較すると、『文章軌範』ではなく『古文真宝』、『唐詩選』ではなく『三体詩』、南宋詩よりも北宋詩など、その内容に独自の傾向が見られる。
English: Priests of the Five Zen Monasteries made shomono mainly regarding Buddhist literature, so most of the original texts were books about Zen Buddhism.
Japanese: 内典は主に五山僧によって抄物がつくられたために、原典はほとんどすべてが禅籍である。
English: These were produced by Nobukata KIYOHARA and Kanetomo YOSHIDA, and were deeply involved with Shintoism in the Medieval period.
Japanese: これは清原宣賢、吉田兼倶らの手になるもので、中世神道と深いかかわりを持つ。
English: Among the novels and tales written from the late Heian period to the early Muromachi period, Ocho Monogatari refers to the ones that are characterized by having Japanese sentences written in Hiragana (the Japanese syllabaries), and having been created on the basis of the customs, aesthetic sense, and the concepts of literature during the period of Court rule.
Japanese: 王朝物語（おうちょうものがたり）は、平安時代後期から室町時代前期ごろにかけて作られた小説・物語群のうち、和文と平仮名表記をもっぱらとし、王朝期の風俗や美意識・文学観念に依拠しつつ製作されたものを指す。
English: Generally speaking, these are tsukuri monogatari (fanciful tale) in concept, but at the same time they include a wide range of tales such as uta monogatari (poem-tale), historical tales, and so on; they are often compared with novels and tales written in the medieval and early-modern times.
Japanese: 一般的には作り物語を中心とする概念であるが、歌物語や歴史物語などをも広く含みつつ、中世・近世の小説・説話類と対置することも多い。
English: Among the Ocho Monogatari (tales from the Heian and Kamakura periods), Tsukuri monogatari refers to the fictitious works in which a story unfolds with a fictitious person as the main character.
Japanese: 作り物語（つくりものがたり）は、王朝物語のうち架空の人物を主人公として展開される小説的な作品を指す。
English: The Ocho monogatari genre started with "Taketori Monogatari" (The Tale of the Bamboo Cutter), "Hakoya no toji" and "Karamori," but it reached its peak with "Genji Monogatari" (The Tale of Genji); these works, which formed the mainstream of this genre, were followed by works ranging from a succession of inferior imitations of The Tale of Genji to the Medieval tales, and this genre boasts the highest number of works of any genre.
Japanese: 『竹取物語』『はこやのとじ』『からもり』などを嚆矢として、『源氏物語』によって頂点を迎え、これにつづく一群源氏亜流物語、さらに中世期物語にいたるまで、王朝物語の主流を成し、もっとも多くの作品数を誇る分野である。
English: "Sanyo-ki" (the Calculation Manual) is the oldest book on Wasan (Japanese mathematics) extant in Japan, however, the author is unknown.
Japanese: 『算用記』（さんようき）は、日本に現存する最も古い和算書で、その著者は明らかではない。
English: "Warizan sho" (The Book of Division) by Shigeyoshi MORI published in 1622 has a description which seems to criticize "Sanyo-ki" as being too difficult to understand, so the latter should be older than the former.
Japanese: 元和8年（1622年）に刊行された毛利重能の『割算書』の中で同書が難解であると批判したと思しき記述が見られることから同書よりも古いとされる。
English: This book introduces calculation with an abacus and describes how to calculate volume and interest rate as well as the method for surveying.
Japanese: 算盤による計算法が導入されており、体積の算出や金利計算、測量の方法についてなどが記されている。
English: Kyoku is one type of fixed form verse which developed in the latter half of the early-modern period in Japan.
Japanese: 狂句（きょうく）とは、近世後期に生まれた日本における定型詩のひとつ。
English: Originally, kyoku were the same as senryu (humorous or ironical haiku), but after the death of Senryu the first (a poet), and during the time of Senryu the fourth, poems in the Senryu style were named 'haifu kyoku'.
Japanese: 本来、川柳と同じもので、初代川柳没後、四世川柳の代に、川柳風の作品に「俳風狂句」と名づけたのがはじまり。
English: Before the Tenpo era, they were commonly a witty verse consisting of five, seven, and seven lines, but after the Tenpo Reforms their contents were often depraved.
Japanese: 天保期までは機知にとんだ五七五の句であったが、天保の改革以後、内容的に堕落。
English: Senryu MIZUTANI the fifth created 'ryufu shikiho' (the rules of senryu), which determined what was acceptable and unacceptable to express in a poem.
Japanese: 五世水谷川柳が「柳風式法」を定めて、表現していい内容や表現してはいけない事項などを定めた。
English: However, this rule limited the variations of these poems, and the contents suffered, so poets began to compete to create the most superficial expression.
Japanese: 表現に箍を嵌めてしまったことから内容的に没落、言葉の表面的面白さを競う娯楽と化してしまった。
English: Senryu the fifth changed the name 'haifu kyoku' into 'ryufu kyoku,' and the poetry of senryu survived the adversities of the Tempo Reforms, as literature, though, it had declined significantly.
Japanese: 五世川柳は、「俳風狂句」を「柳風狂句」と改名し、天保の改革の荒波を川柳は乗り切ったが、文芸としては、みるものがなくなった。
English: It continued to be called 'senryu,' 'senryufu kyoku,' or 'senryu kyoku' until the Meiji period, as it was kyoku composed by the members whose master was Senryu; this differentiated kyoku from other zappai (playful literature originating from haiku).
Japanese: 明治期まで「川柳」、「川柳風狂句」ないし「川柳狂句」とよばれたのは、川柳という宗匠を頂点とする会員による狂句で、それ以外の雑俳と区別された。
English: However, by 1902 it was in a weaker position due to reform movements by the new senryu, and, declining little by little, it continued until the time of Senryu the 13th in the Showa period, when it lost its influence completely.
Japanese: しかし、明治35年以降、新川柳の改革運動に押され、しだいに縮小、昭和の十三世川柳まで会は続いたが、影響力はまったくなくなっていた。
English: Gen no Naishinosuke is a nickname for a character in "The Tale of Genji."
Japanese: 源典侍（げんのないしのすけ）は、『源氏物語』の登場人物の一人の通称。
English: She first appears in the chapter of 'Momiji no ga' (The Autumn Excursion) as Naishi no suke (assistant director of the Naishidokoro [a place where the sacred mirror is enshrined], equivalent to Jushiinoge [Junior Fourth Rank, Lower Grade]) in Emperor Kiritsubo's Imperial court.
Japanese: 桐壺帝の朝廷で典侍（内侍所の次官、従四位下相当）として「紅葉賀」に初登場する。
English: As her family name of MINAMOTO (Gen) suggests, her ancestors were related to the Imperial family.
Japanese: 源氏（みなもと）の名字からもわかるように、先祖は皇族に連なる家の出身。
English: She was good at playing the biwa (Japanese lute), and a perfect court lady in regards to her hobby, education, social standing among her family, competence, and so on, however, she was known for her lustfulness despite her age.
Japanese: 琵琶を得意とし、趣味、教養、家柄、能力等、女官として申し分のない女性だが、年に似合わぬ色好みで有名であった。
English: When Hikaru Genji and Tono Chujo (the first secretary's captain) tried approaching her, she would pretend to be interested in them as if she were a young lady, which would quickly disinterest them.
Japanese: 光源氏と頭中将が試みに声をかけると、まるで妙齢の女性のように気のある素振りをして二人を辟易させる。
English: Despite the Emperor making fun of her about it, she spread a rumor about her relationship with Genji, and even after she was interrupted by Tono Chujo, who tried to expose her secret meeting with Genji, without learning her lesson, she continued to approach Genji and in doing so acted disgracefully.
Japanese: 帝にからかわれても逆に源氏との仲を吹聴し、源氏と逢引中に悪戯心を起こした頭中将に踏み込まれ醜態を晒した後も、懲りずになお源氏に言い寄った。
English: She seems to have lived to a great age, reappearing in the chapter of 'Asagao' (The Morning Glory), and it is known that she became a nun to be a disciple of Onna Gonomiya, an aunt of Asagao no Saiin (Priestess of Morning Glory); she was about 70 around this time.
Japanese: 相当に長生きをしたようで、「朝顔」で再登場、尼となり朝顔斎院の叔母、女五の宮の元に弟子入りしていたことが知られる（この頃七十歳前後）。
English: Genji lamented unreasonably that 'good people die young, but those who are not have a long life.'
Japanese: 源氏に「良い人ほど早死にして、そうではない人ほど長生きすることよ」と理不尽に嘆かれなどした。
English: She seems to have been sought after very much when she was young, but she made two young noblemen disinterested due to her words and deeds being inappropriate for her age.
Japanese: 若い頃はなかなか持て囃されたようではあるが、年に釣り合わない言動で貴公子二人を辟易させた。
English: The most famous episode of this is when she walked around with a deep red fan designed for young people, on which a meaningful poem ('The weeds growing under the trees are getting old, ---') was written.
Japanese: 最も有名なエピソードは、意味深な歌（「森の下草老いぬれば～」）を書いた若向きの真っ赤な扇を持ち歩いていた一件。
English: She is said to be an unsuitable character in the otherwise graceful love story, but some say that she may be modeled after the old woman in the tale of 'Tsukumo' in "Ise Monogatari" (The Tales of Ise), toward whom a young nobleman was often sympathetic.
Japanese: 優雅な恋愛物語には不似合いな人物と言われるが、『伊勢物語』の「九十九髪」での貴公子が老女に情をかける件を下敷きにしたのではないかという説もある。
English: Considering that Hikaru Genji's living in seclusion at Suma reflects ARIWARA no Narihira's traveling from Kyoto to the eastern provinces, this opinion seems to be reliable.
Japanese: 在原業平の東下りが光源氏の須磨蟄居に投影されていることからも考えて有力な説に思える。
English: Also, there is a theory that she was modeled after a real person, MINAMOTO no Akiko, an older sister-in-law of the author, Murasaki Shikibu.
Japanese: また実在人物では、作者紫式部の義理の姉にあたる源明子をモデルであるとする説がある。
English: In addition, in the comic book of "Asakiyumemishi "(The Tale of Genji seen in a Shallow Dream), Gen no Naishinosuke twisted Genji and Tono Chujo around her finger together with Suri no kami, her lover, but this is a setting only used in the comic book.
Japanese: なお、『あさきゆめみし』では恋人・修理大夫（すりのかみ）と一緒になって源氏及び頭中将を手玉に取っていた、との描写がなされているが、これは漫画オリジナルの設定である。
English: It was a legendary tree that looked like a standing broom when one saw it from a distance, but went out of sight as one neared it.
Japanese: 遠くから見れば箒を立てたように見えるが、近寄ると見えなくなるという伝説の木。
English: The tree became widely known due to SAKANOUE no Korenori's poem in "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry): 'Sonohara ya Fuseya ni ouru Hahakigi no Aritote yukedo Awanu Kimi kana (As the broom tree that grows by the lowly hut on Sonohara Plain, manifest to the eye, but beyond arms' reach are you, my love).'
Japanese: 『古今和歌集』の坂上是則の歌「園原や伏屋に生ふる帚木のありとてゆけど逢はぬ君かな」で広く知られることになった。
English: This poem became a metaphor for a lover who pay attention to you even when you came close or a lover you seemed you would meet but you couldn't, and the word "Hahakigi" became the title of the second chapter of "The Tale of Genji" (where the lover Genji couldn't see was Utsusemi (the Lady of the Locust Shell). See 'Hahakigi' (Tale of Genji)).
Japanese: そこから、近づいても逢ってくれない人、逢えそうで逢えない人の喩えに用いられ、『源氏物語』では第二帖の巻名にもなった（この場合の逢えない相手は空蝉。「帚木（源氏物語）」参照）。
English: In addition, 'ha-ha' in Hahakigi shares the same sound with 'haha' (Mother), so it was used as a metaphor for a mother that one never met.
Japanese: また、ははきぎの「はは」が「母」に通うことから、まだ見ぬ母の喩えにも使われた。
English: The cypress tree named Hahakigi actually existed; today, only the bottom of the trunk can be seen at the back of Tsukimi-do (regarded as the site of Kojo-in Temple built by Saicho (Dengyo Daishi)) in Sonohara, Achi-mura, Nagano Prefecture.
Japanese: 帚木の名を伝える檜の木は現存し、長野県阿智村園原の月見堂（伝教大師＝最澄が立てた広拯院の跡地と考えられている）の裏手に根元の幹のみが残っている。
English: In Japanese literature, the term "Historical Tale" refers to the works based on real historical events and written in the style of a narrative.
Japanese: 歴史物語（れきしのもがたり）とは、日本文学において、実際の歴史に基づいて物語風に書かれた作品のこと。
English: In principle, they were written in kana (the Japanese syllabary), and distinguished from a historical essay written in Chinese.
Japanese: 仮名文で書かれている事が原則であり、漢文によって書かれた史論書とは区別されている。
English: Because the tales follow historical events, the reader may sometimes mistake the whole tale as historical fact, however, authors often dramatized their stories or wrote with limited knowledge of actual events, therefore the events in the stories can differ greatly from historical fact (similar to war chronicles).
Japanese: 歴史の流れに従っているため、物語を全て史実のように錯覚してしまうケースもあるが、作者による演出の挿入や作者が当時知っている範囲で書かれていることも多いために、作中のエピソードと史実が合致しない事例も有り得る（軍記物語にも同様のことが言える）。
English: The book was first planned with the title "Junsui Keiken to jitsuzai (Pure Experience and Realism)," but the publisher Kodokan opposed to the idea and the title was changed to "Zen no Kenkyu (An Inquiry Into the Good)."
Japanese: 当初は『純粋経験と実在』という題名のもとに構想されていたが、出版社の弘道館が反対したため、この名に改題された。
English: Nishida regarded pure experience as the solution for the fundamental issues of philosophy such as the confrontation between idealism and materialism, he stated that the unification of objective and subjective phenomena was the foundation of knowledge, ethics and religion.
Japanese: 観念論と唯物論の対立などの哲学上の根本問題の解決を純粋経験に求め、主客合一などを説いて、知識・道徳・宗教の一切を基礎づけようとした。
English: Together with Kant's "Critique of Pure Reason," this book was a must read for students during the Meiji and Taisho periods.
Japanese: イマヌエル・カントの『純粋理性批判』と並び、明治時代・大正時代において学生の必読書とされた。
English: "Isonokami no Sasamegoto" is Norinaga MOTOORI's personal views on poetry.
Japanese: 『石上私淑言』（いそ-の-かみ-の・ささめ-ごと）は本居宣長の記した歌論書。
English: This book, written in 1763, was one of Norinaga's early works and was stored as an unfinished manuscript, but was published in 1816 after his death (there are other opinions on when the manuscript was completed).
Japanese: 宝暦13年（1763年）に書かれた宣長初期の著作であり、未定稿のまま保管されていたが、没後文化13年（1816年）に刊行された（成立年代については他説あり）。
English: This book argues that waka (Japanese poems) should be based on the theory of "mono no aware" (the pathos of things), and is usually regarded as the further development of the view of waka described in "Ashiwakeobune" (treatise on waka poetry).
Japanese: 内容はもののあはれの説を基軸として和歌のありうべきすがたを論じたもので、通常は『排蘆小船』の和歌観をさらに展開させたものと考えられる。
English: In this book Norinaga argued that poetry is an outpouring of feelings and objected to literature being restricted by ethics or morals.
Japanese: 歌は感情の流露であるとし、倫理や道徳概念によって文学を掣肘することに非を論ずる内容である。
English: He discussed a great deal about the concept of 'aware' in addition to waka poetry, indicating his shift from the theory of waka poetry to a discussion of Kokugaku (the study of Japanese classical literature).
Japanese: 和歌とともに「あはれ」の概念について多く論じられており、和歌論から国学的範疇への移行が見てとれる。
English: Matsura no miya Monogatari is a story or novel formed at the beginning of the Kamakura period.
Japanese: 松浦宮物語（まつらのみやものがたり）は、鎌倉時代初期に成立した物語、小説。
English: The time of its formation is considered to be the latter half of the twelfth century because "Mumyozoshi" (critique of tales) commented on tales in the Kamakura period as 'many have recently appeared' and mentioned this work.
Japanese: 成立時期は、『無名草子』が「むげに此頃出で来るもの」として鎌倉時代の物語を評して本作品に及ぶことなどから、12世紀後半であろう。
English: There is a description in "Mumyozoshi" that means 'Many that are told, as written by Sadaie shosho, cannot be true.'
Japanese: 『無名草子』には「又定家少将の作りたるとてあまた侍るめるはましてただけしきばかりにてむげにまことなきものに侍るなる」という記述がある。
English: Experts on Japanese literature avoid definite statements because they are trapped in positivism, but literature experts say it is clear that Sadaie FUJIWARA is the author.
Japanese: 国文学者らは悪しき実証主義に陥って明言を避けているが、文学者らは藤原定家がその作者であるということは明々白々であるとする。
English: Ujitada was born to TACHIBANA no Fuyuaki, who was Shosanmi (Senior Third Rank) dainagon (a chief councilor of state) and Chue no daisho (Major Captain of the Imperial Guard) and the imperial princess of Asuka in the era of Fujiwara no Miya and was known for his excellent looks and wit, and he assumed the position of shikibu shoyu (Junior Assistant of the Ministry of Ceremonies), ushoben (Minor Controller of the Right) and Nakatsukasa no Shosho (Minor Captain of the Ministry of Central Affairs) concurrently and his rank was Jugoinojo (Junior Fifth Rank, Upper Grade)at the age of sixteen.
Japanese: 藤原の宮の時、正三位大納言兼中衛大将橘冬明と明日香の皇女との間に生まれた氏忠は、容貌才覚共にすぐれ、16歳で、式部少輔右少弁中務少将を兼任、従五位上にあった。
English: He concentrated single-mindedly on studying and there were no rumors of any love affairs, but he secretly loved Princess Kannabi, whose mother was the empress.
Japanese: 彼は勉強一筋、色っぽい噂もなかったが、心中密かに后腹の姫君かんなびの女王を恋い慕っていた。
English: Although he wanted to meet her again, she entered court and he was appointed as vice-envoy to Tang and was ordered to travel to Tang.
Japanese: しかし再会を願ううちに彼女は入内、彼は遣唐副使に任命され、渡唐することになった。
English: At the time of departure, she sent him a waka (a traditional Japanese poem of thirty-one syllables) of farewell and his mother said she would build a palace on the mountain of Matsura live on looking towardst the sky of Tang until his return.
Japanese: 出国の時、彼女は彼に別れの歌を送り、彼の母は松浦の山に宮を造り、彼の帰国まで唐の空を眺め暮らすと言った。
English: He arrived in Tang and won the Emperor of Tang's favor, but his homesickness was not cured.
Japanese: 唐に着いた彼は、唐の帝の寵愛を得たが、ホームシックは癒されなかった。
English: One night with a full moon, while he was wandering in the field of autumn flowers, he heard an excellent performance of the koto (a long Japanese zither with thirteen strings) by an old man around eighty years old that echoed to the high buildings.
Japanese: 或る名月の夜、秋草の中をさまよううちに、八十歳ほどの老人の奏でる琴の名演奏が高楼に響くのが聞こえた。
English: He learned from the old man how to play the koto and was told that, as the younger sister of the emperor, Princess Kayoplays the koto at 'Mt. Sho' and he should learn from her.
Japanese: 彼は老人に琴を教わり、帝の妹である華陽公主が「しやう山」で琴を演奏するので、それを習えと言われた。
English: He went to 'Mt. Sho' and learned treasured pieces for the koto, but his heart fluttered because of Princess Kayo's beauty and promised to meet again in court on October 3 when he parted with her.
Japanese: 「しやう山」に行くと、琴の秘曲を授かったが、華陽公主の美しさに彼の心は乱れ、十月三日禁中での再会を約束して分かれた。
English: Just then, the emperor was sick in bed and called Ben (Ujitada) to say "After my death, the country will fall in state of disorder, so please follow and help the crown prince."
Japanese: 折しも、帝は病臥し、弁を呼び、私の死後国は乱れる、おまえは太子に従ってくれ、と言った。
English: Her keepsake was a crystal ball and she predicted "If you do not forget me even after you return to Japan, take the ball to Hatsuse-dera Temple and carry out the Buddhist memorial service of the Twenty-First Day, then we can meet again," and she let her koto fly away and died like the dew.
Japanese: 彼女の形見は水晶の玉、日本に帰っても私を忘れないなら初瀬寺に玉を持って三七日の法を行え、再会できる、と予言し、琴を天外に飛び去らせ、自分も露のように死んだ。
English: Then, the emperor died and his prediction came true that the country fell into a state of disorder, and Emperor's younger brother Eno rose in revolt seizing the chance that the crown prince was still an infant.
Japanese: やがて帝も死に、予言は的中、国は乱れ、弟の燕王が太子の幼弱をいいことに謀反した。
English: He kept the promise with the late emperor and escaped towards Shokuzan and protected the the crown prince who became the new emperor and the empress dowager.
Japanese: 彼は今は無き帝との約束通り、新帝である太子、母后を守り逃げ、蜀山に向かった。
English: One night, when the day of his return was coming up, the empress dowager said that the mysterious lady was her other self and disclosed the secret that "Ubunkai was Asura, I am tenshu (a god) of dainiten (the second god) and you are a tendo (the embodiment as a child of a ferocious god who protects the Buddhist Law) and both were sent from the svarga to punish Asura but obscene thoughts occurred because we are born into this world" and gave him a mirror as a memento.
Japanese: 帰国の日も近づいた或る夜、母后は、あの女性は実は自分の化身だったと言い、宇文会は阿修羅、私は第二天の天衆、あなたは天童、二人は阿修羅懲戒のため天から下されたのだ、人世に生まれたばっかりにみだりごころも起こったのだと秘密を明かし、形見に鏡を渡した。
English: When he went to Hatsuse and conducted the Buddhist memorial service of the Twenty-First Day, the sound of koto was heard from the mountains and he was reunited with Princess Kayo.
Japanese: 初瀬におもむき、三七日の法を行うと、果たして山に琴の音が聞こえ、華陽公主と再会できた。
English: When both were playing the koto together, even Princess Kannabi who was a childhood friend, felt jealous.
Japanese: 二人で琴を合わせていると、幼なじみのかんなびの女王も妬むほどであった。
English: If this is really a work of FUJIWARA no Sadaie, this is his work when he was young around the latter half of his twenties and the composition of three volumes is not concise and the linkage between stories cannot be said to be good.
Japanese: もしこれが藤原定家の真作であるならば、彼の二十代後半の若書きであり、3巻のその構成は緊密でなく、前後の連携も良いとは言えない。
English: The feelings of Shosho's parents are described in detail in the first half, but are forgotten in the latter half, and the description of the war in Tang is unusually detailed and there is a view that the existing text includes later additions by another person.
Japanese: すなわち、前半で少将の両親の心情を細やかに描きながら、後半では忘れられ、また、唐国内の戦乱描写も異常なまでに詳細であり、一説には、現存本は後人の加筆もあるという。
English: Also, a similarity to "Utsuho Monogatari" (The Tale of the Hollow Tree) and "Hamamatsu Chunagon Monogatari" (The Tale of Hamamatsu Chunagon (Middle Counselor)) has been pointed out.
Japanese: また、『宇津保物語』や『浜松中納言物語』との肖似性も指摘されている。
English: However, the romantic, supernatural, and fantastic charm that can be seen throughout all the volumes cannot be ignored and the literary ability of the author should be highly appreciated.
Japanese: しかし全編に縹渺する浪漫的神仙的伝奇的情趣はおおうべくもなく、著者の筆力は高く評価されねばならないだろう。
English: "Manyodaishoki" is a commentary on "Manyoshu" (the oldest anthology of tanka) by Keichu, who was a scholar of Japanese classical literature during the Edo Period.
Japanese: 『万葉代匠記』（まんようだいしょうき）は、江戸時代の国学者・契沖が著した『万葉集』の注釈・研究書。
English: The word 'daisho came from "Roshi" (Daodejing) volume two and "Monzen" (Wen-hsuan, ancient Chinese poems) volume 46 "Ode to Heroes", meaning that 'there may be some errors because this book is made on behalf of the original authors.'
Japanese: 「代匠」という語は、『老子』下篇と『文選』第46巻豪士賦の中に出典があり、「本来これを為すべき者に代わって作るのであるから誤りがあるだろう」という意味である。
English: At that time, the lord of the Mito Tokugawa family Mitsukuni TOKUGAWA wished to collect transcribed and published books on "Manyoshu" to revise them, and Choryu SHIMOKOBE was in charge of making commentary during the Kanbun and Enpo periods.
Japanese: 当時、水戸徳川家では、主君の徳川光圀の志により、『万葉集』の諸本を集め校訂する事業を行っており、寛文・延宝年間に下河邊長流が註釈の仕事を託された。
English: When Choryu became ill and could no longer perform his duty, he recommended Keichu who shared the same interest for the task.
Japanese: 長流が病でこの依頼を果たせなくなったときに、同好の士である契沖を推挙した。
English: The creation of "Daishoki" started around 1683 and 'the first edition' was completed around 1687 followed by 'the final version' in 1690.
Japanese: 『代匠記』が着手されたのは天和3年の頃であり、「初稿本」は貞享4年頃に、「精選本」は元禄3年に成立した。