nntsuzu/KFTT huggingface dataset:
English: At the end of the year, Kazumaru (Harenaga) TSUCHIMIKADO was dismissed from the position of daigaku goyogakari (person in charge of the education of the Imperial Household) and the privileged status of Tsuchimikado family in calendar study was abolished.
Japanese: 同年末、土御門和丸（晴栄）は大学御用係を免職となり、暦道における土御門家の特権は廃止された。
English: Tojinuta is a category of popular song during the Edo period and the Meiji era.
Japanese: 唐人歌（とうじんうた）は、江戸時代から明治時代にうたわれた流行歌である。
English: Its lyrics are the imitation of the pseudo-Chinese reading for characters and many of them don't have any meanings.
Japanese: 歌詞は中国語ふうの音（おん）をまねたもので、意味の不明なものもおおい。
English: The oldest song "Chasanhai" (also known as "Chasanbai") that is categorized as tojinuta is a kyogen-kouta (a song for kyogen [a farce played during a Noh play cycle]), 'すうらんどんほごいてうぶゆがんなんつるほうけなんがんこいもんがんごいせつばせいやらてうをたら.'
Japanese: 唐人歌に分類されるもので最古のものは、『茶盃拝』（『茶子味梅』とも）にある狂言小歌の「すうらんどんほごいてうぶゆがんなんつるほうけなんがんこいもんがんごいせつばせいやらてうをたら」という歌である。
English: In the Edo period, "Bokuyo Kyokashu" (Bokuyo Collection of Comic Tanka) described a song as 'a popular tojinuta singing about のんせんふらんらん露の情なや' (in "Matsu no ochiba" [a book on Shinto, the history and the language by Takanao FUJII], '浮世のんせんふんらんらん' was compiled as the song for Otsu Oiwake-e odori dance), and also "Kefukigusa" (a book for haikai including manners and selection of works) described a song as 'a kouta song has a line, ふうらいふらいふる妻いとし軒の雪, from tojinuta.'
Japanese: 江戸時代では、『卜養狂歌集』に「その頃世にはやる唐人歌とて、のんせんふらんらん露の情なやといふ事を歌ひける」（『松の落葉』には大津追分絵踊に「浮世のんせんふんらんらん」とある）、『毛吹草』に「小歌の中の句に、ふうらいふらいふる妻いとし軒の雪、此句唐人歌歟」とある。
English: In "Mifuneuta bue," two songs were categorized as 'Tojinuta': namely 'さあちやあわへらんやしやんで (omitted)' and 'ろすかさんはいおなりすんやおなりや (omitted).'
Japanese: 『御船歌笛』に「唐人唄」と題するものに「さあちやあわへらんやしやんで（省略）」、「ろすかさんはいおなりすんやおなりや（省略）」の2つがある。
English: The above songs were those of pre-Genroku era; a tojinuta, 'かんふらんはるたいてんよながさきさくらんじやばちりこていみんよでんれきえきいきははんはうろうふすをれえんらんす,' compiled in "Matsu no ha" (a collection of kouta published in 1703) is famous as the one created in Genroku era.
Japanese: これらの歌は元禄以前のものであるが、元禄年間には、『松の葉』の唐人歌「かんふらんはるたいてんよながさきさくらんじやばちりこていみんよでんれきえきいきははんはうろうふすをれえんらんす」が有名であるとされる。
English: A song for tojin-odori dance, 'いきにていきにてすいちやゑんちや (omitted)' compiled in "Ochibashu" (a collection of popular songs in the middle of Edo period) is known as the one whose lyrics have the meaning.
Japanese: 歌詞の意味の明瞭な歌では、『落葉集』にある唐人踊の歌で、「いきにていきにてすいちやゑんちや（省略）」というものがある。
English: This song derived from '一更裡天一更裡天、月照紗窓,' a phrase of Chinese popular song 'Suikocho' (drunken butterfly) compiled in "Toon Wage."
Japanese: これは『唐音和解』にある中国の俗歌「酔胡蝶」の「一更裡天一更裡天、月照紗窓」に由来する。
English: The term 'Nonsen-odori' is seen in "Suishoan no ki" written by Bokuyo NAKARAI; it is because this dance was designed for the song 'Ukiyo Nonsen,' and the song 'Furai Furai' is the lyric for Omi-odori dance.
Japanese: 半井卜養の『酔笑庵之記』には、「のんせん踊り」の名称があるのは、上記の「浮世のんせん」の歌に付けたもの、「ふうらいふうらい」の歌は近江踊りの歌詞である。
English: The terms 'Nankin-odori' seen in "Suishoan no ki" and 'Kanposai no odori' seen in the volume 4 of "Koshoku Mankintan" are both indicating tojin-odori, but it is unknown whether they had lyrics.
Japanese: 『酔笑庵之記』に南京踊、『好色万金丹』巻4に「漢浦塞の踊」とあるのは、いずれも唐人おどりであるが、ただし歌詞の有無はあきらかでない。
English: Among tojinuta of Busei era, 'Karamusebi' (also known as 'doncha negoto') compiled in "Ukiyogusa" is well-known.
Japanese: 文政年間には、『浮世草』にある「唐咽」（からむせび。「どんちゃ寝言」とも）が有名であるとされる。
English: Its lyrics are 'Donchan, donchan donchan, Myokan doncha (omitted).'
Japanese: 歌詞は「ドンチャン、ドンチャンドンチャン、妙カンドンチャ（省略）」という。
English: Godaion refers to the five family crest designs that are especially widely used throughout Japan, and they are fuji (wisteria), kiri (paulownia), takanoha (feathers of hawks), mokko (cross-section of a gourd), and katabami (yellow sorrel).
Japanese: 五大紋（ごだいもん）は、日本の家紋のうち、一般的に特に多く分布する藤、桐、鷹の羽、木瓜、片喰の5つの紋のことを指す。
English: In addition to these, five more crest designs, tsuta (ivy), myoga (a type of ginger), omodaka (arrowhead), tachibana (mandarin orange tree) and kashiwa (oak), make up Judaimon (the ten major family crests in Japan).
Japanese: またこれらに、蔦、茗荷、沢瀉、橘、柏の5つを加えて「十大紋」と呼ぶ。
English: According to data presented by Japan Family Crest Research Institute, the most commonly used family crest, on national average, is "katabami-mon" (about 9%), and the least commonly used crest is "kiri-mon" (about 5%) among the five major family crests.
Japanese: 日本家紋研究所のデータでは、全国平均で最も多い占有率を示したものは「片喰紋」（約9パーセント）で、五大紋の内で最少の占有率は「桐紋」（約5パーセント）であったという。
English: Incidentally, based on the national average from the survey conducted by Japan Family Crest Research Institute, family crest designs can be listed from the most commonly used to the least commonly used as: katabami, mokko, takanoha, kashiwa, fuji, kiri, tsuta, ume (Japanese plum), tachibana, then meyui (kanoko (dappled pattern)).
Japanese: ちなみに、この日本家紋研究所調べの全国平均占有率の並びでは、上位から片喰・木瓜・鷹の羽・柏・藤、次に桐・蔦・梅・橘・目結の順である。
English: A website named "Seven thousand Japanese family names" provides "a list of representative family crests by prefecture," in which about ten most widely used family crests in each prefecture are chosen and shown in a table.
Japanese: サイト「日本の苗字七千傑」の「都道府県別代表家紋一覧」には、特に多く使用されている家紋を、都道府県別に10個程度選出して表にまとめられている。
English: According to the list, fuji, kiri, takanoha, mokko, and katabami are all ranked as "representative family crests" in more than half of the 46 prefectures.
Japanese: それによると、藤、桐、鷹の羽、木瓜、片喰の紋がそれぞれ、46の都道府県の約半分、またはそれ以上において「代表家紋」としてランクインしている。
English: While fuji-mon design is widely used in general households, it is said that only seven (out of 97) families of the Fujiwara clan lineage use them.
Japanese: 一般家庭での普及はあるものの、藤原氏流（97家）の使用例は、うち7家のみであるといわれている。
English: Many families of the Fujiwara clan lineage, whose family names include the letter '藤' (such as Sato, Kato, Saito), use the fuji-mon design.
Japanese: 藤原氏系の流れで、名前に「藤」を入れた苗字（佐藤姓、加藤姓、斉藤姓など）を用いる家があり、その多くが藤紋を使っている。
English: It became widely popular among people from meika (court nobles, important or distinguished families) to commoners, and today, it is prevalent as a relatively popular family crest.
Japanese: 名家から庶民まで幅広く流行し、現在では、比較的ポピュラーな家紋として定着している。
English: There are several opinions and theories about what mokko-mon designs are based on, such as a theory that suggests that mokko-mon is a design of a cross-section of a gourd or the gourd itself, and an opinion that suggests that mokko-mon is a design of a bird's nest.
Japanese: 木瓜紋は、瓜の切り口や瓜そのものを図案化したものとする説や鳥の巣とする説など何を図案化したのかの見解や説が幾つかある。
English: Katabami (sakusho-so)-mon is a design of yellow sorrel flowers, and as a crest, whose design is based on plants, it became the second most popular crest after kiri-mon (paulownia design).
Japanese: 片喰（酢漿草）紋は、カタバミを図案化したもので桐紋の次に流行した植物図案の紋である。
English: Atariburumai was a feast to celebrate a full house production.
Japanese: 当たり振る舞い（あたりぶるまい）は、演劇興行の大入りの時に、その祝いに行なった饗応である。
English: When a kabuki performance became so popular as to fill the venue to capacity, the producer invited all the actors for dinner to celebrate it.
Japanese: 芝居興行が人気に投じて大入り満員であったとき、その当たり祝いのために興行主が座員全員に饗応することである。
English: A notiication of a full house feast was posted on a bill a few days ahead of it, announcing the date of the feast and asking the performers to remain after 'uchidashi' (the end of the day's show).
Japanese: 当たり祝いの通知はあらかじめ当たる何日大当たり振る舞いするから、打ち出し（1日の興行のおわり）後、おのこりくださるべしという意の貼りだしをした。
English: Subsequently, actors who played on the mezzanine-floor, kyogen players and musicians were included.
Japanese: その後三階および中二階の俳優、狂言方、囃子方などをつうじておこなうになった。
English: As the venue had become too small to accommodate them all, the place was moved to a restaurant outside the theatre.
Japanese: 会場の狭さをつげ、会場を劇場外の料理屋にうつしておこなうようになった。
English: This resulted in the decrease of various party entertainments associagted with full-house kyogen commonly seen in a full-house feasting, such as mochiban, sakaban, chaban (improvised farces), a fan-throwing game and haiku.
Japanese: そのため当たり振る舞いにつきものであった当たり狂言にちなんだ餅番、酒番（さかばん）、茶番、絵直し、投扇興、俳句などの余興は減じた。
English: Likewise, elaborate decorations associated with the occasion were also discontinued.
Japanese: おなじく当たり狂言にちなんで滑稽の趣向をこらした飾り物も廃せられた。
English: Drained from the first battle of the Genpei War (the war between the Minamoto clan and the Taira clan), Naozane KUMAGAI, a busho (military commander) of the Minamoto clan, becomes a priest and calls himself Priest Rensho.
Japanese: 源平の戦いの緒戦に疲れた源氏の武将熊谷直実は、出家して法名熊谷直実と名乗った。
English: In August of autumn, Rensho visits Sumanoura Bay in Settsu Province for the purpose of offering prayers to the Buddha of TAIRA no Atsumori whom he had killed in the Battle of Ichinotani.
Japanese: 秋八月、蓮生はかつて一ノ谷の戦いで討った平敦盛の菩提を弔うために摂津国須磨の浦へ赴いた。
English: When Rensho asks them who was playing the flute, one of them tells him about the unfortunate history of the flute and asks Rensho to give ten Buddhist invocations.
Japanese: 蓮生が男らに誰が笛を吹いていたのかと尋ねると、男らの一人が笛にまつわる因縁について語り、十念を授けて欲しいと言う。
English: When Rensho asks the man why, he hints that he is an incarnation of Atsumori and then disappears.
Japanese: 蓮生が理由を質すと、その男は敦盛の化身である事をほのめかして姿を消す。
English: When Rensho is chanting sutra at night, the ghost of Atsumori appears to tell about the ups and downs of the Taira clan, performs a chu-no-mai dance with nostalgia for the final feast of the Taira clan, and reproduces the scene of his own death in the Battle of Ichinotani.
Japanese: 夜、蓮生が読経していると敦盛の霊が現れて平家一門の栄枯盛衰を語り、平家最後の宴を懐かしんで中之舞を舞い、一ノ谷合戦での討ち死にの模様を再現して見せる。
English: Although Atsumori, on having finally found his enemy tries to take revenge on Naozane, he learns that Naozane has become a priest and as Rensho was dedicated to reading sutra and was no longer his enemy; the ghost of Atsumori disappears, leaving words that he and Rensho both be born as lotus ('ren' in Rensho's name means lotus) in Gokuraku Jodo (the Amida Pure Land).
Japanese: そしてやっと敵である直実に巡り会えたと仇を討とうとするが、すでに出家して蓮生となって弔いにつとめる直実はもはや敵ではないと悟り、極楽浄土では共に同じ蓮に生まれる身になろうと言い残して敦盛の霊は姿を消す。
English: Kaomise refers to the first kabuki performance played by new actors following an annul renewal of actors.
Japanese: 顔見世（かおみせ）は、歌舞伎で、1年に1回、役者の交代のあと、新規の顔ぶれで行う最初の興行である。
English: In the Edo period the kabuki actors were hired for a full year, starting in November and ending next October.
Japanese: 江戸時代、劇場の役者の雇用契約は満1箇年であり、11月から翌年10月までが1期間であった。
English: Although its origin is unknown, Matabe MURAYAMA was the first to organize kaomise and Sanemon ARASHI (I) determined the order, period, and convention of kaomise performance in Kamigata (Kyoto and Osaka area).
Japanese: その起源は明らかではないが、上方においては村山又兵衛にはじまり、嵐三右衛門(初代)が1年間の興行の順序、期間、式例などをさだめた。
English: During the Manji era in Edo, Kanzaburo NAKAMURA decided to choose a kyogen (farce) performance that matched the season.
Japanese: 江戸においては中村勘三郎が万治年間に四季に応じた狂言を選ぶことにしたという。
English: This was because Utaemon NAKAMURA postponed the renewal of cast members in December 1849 until the new year to help Edo-Ichimura-za Troupe which had financial difficulties.
Japanese: 嘉永2年11月に中村歌右衛門(4代目)が苦境にある江戸市村座を救うべく役者交代の時期を翌春にのばしたのが因であった。
English: A practice of 'teuchi', in which fans of actors appeared on the stage to praise them, was conducted in December (in the old Japanese calendar), although it was also discontinued by the end of the Edo period.
Japanese: 「てうち」という式例が12月に行なわれていたが、それも幕末に絶えた。
English: Various forms of performance subsequently appeared under the name of kaomise although they did not necessarily preserve the older tradition.
Japanese: その後も様々なかたちで顔見世の名称で興行が行なわれたが、かならずしも古格を残し伝えるものではないという。
English: The details of kaomise were determined in September (in the old calendar) after the managers of three theatres in Edo got together during summer to decide upon casts for the following year's productions.
Japanese: 顔見世の式例は、江戸では江戸三座の幹部が集まり、夏に来年の役者の割り振りの予定をたて、9月に決定する。
English: On October 17 (in the old calendar), an event called 'yorizome' was held in which a new cast of actors met for the time.
Japanese: 10月17日「寄初（よりぞ）め」といい、新一座の役者全員が最初の顔合わせを行なった。
English: With the manager's vocal cue, theatre musicians first sang the song called 'Shikainami' and then the chief producer offered a drink to the zato (the leader of a troupe), then to the leading actor, which is known as 'sakagoto.'
Japanese: 式場では頭取の発声で囃子方の四海波の謡がはじまり、太夫元から座頭、書き出しの役者と順次盃事があった。
English: On October 20 (in the old calendar) 'monkanban' (billboard to announce the roles of main actors) was put up, on October 29 new programs and casts were announced, and on October 30 a pictorial billboard was put up.
Japanese: 20日新座組の紋看板を出し、29日に番付を発表し、30日には絵看板を掲げる。
English: On the first day main stakeholders of the performance visited one another in kamishimo (old samurai costume), saying 'Congratulations!' to each other, and creating bustle like at New Year's.
Japanese: 初日は主な関係者は裃姿で訪問しあい、「おめでたう」とあいさつをし、正月のような賑わいを呈したという。
English: With the second beating of the drum, 'Okinawatashi' ('shikisanban' or ceremonial dancing) was performed, followed by 'waki kyogen' (an auspicious play) and 'hon kyogen' (a main program of kyogen).
Japanese: 二番太鼓を打ち上げて「翁渡し」（式三番）を舞い、脇狂言、本狂言となる。
English: From the mid Edo period onward, they were divided into two parts: the first part (where jidai or period kyogen was performed) and the second part (where sewa or sentimental kyogen was performed), which was structured to return to a period kyogen at the end.
Japanese: 中期以後の江戸では一番目（時代狂言）と二番目（世話狂言）に分かれ、二番目も終わりには時代狂言に戻る仕組みであった。
English: In the overture (called 'mitateme') of the first part, 'Shibaraku' (a war story) in an exaggerated kabuki style was given and in the second act (called 'kaeshi') 'danmari' (a pantomimic play) was performed, followed by 'shosagoto' (kabuki dancing) in the fourth act ('yotateme') and 'ozume' (the final act) where a rebel was named in a scene of a castle with golden fusuma doors.
Japanese: 一番目の三建目（みたてめ。序幕）には荒事の暫があり、その返し（次幕）にはダンマリがあり、四建目には所作事がつき、大詰には金襖が用いられた御殿の場があり、謀反人の見出されがあった。
English: The second part included 'sewaba' (realistic dramas) with the scenes of snow falling and some humorous scenes such as hustle-bustle of moving and fights between couples.
Japanese: 二番目の世話場には雪をふらせ、引っ越し騒ぎ、夫婦喧嘩のような滑稽がある。
English: Dances for kaomise kyogen included excellent works such as 'Modorikago,' 'Sekinoto,' 'Inugami' and 'Dojoji.'
Japanese: 顔見世狂言の所作事には「戻り駕」「関の扉」「犬神」「道成寺」など優れたものが多かった。
English: 'Ninokawari kyogen' that followed kaomise was regarded more important.
Japanese: 次に出す狂言を「二の替り狂言」といい、このほうに重きが置かれていた。
English: Printed on a large sheet of paper similar in the form to 'yagura banzuke' (rankings lists at theatres) or 'tsuji banzuke' (ranking lists put up in the streets), in the upper half of the kaomise banzuke, stage curtains with family crests around were drawn with the names of a chief producer, actors and playwrights arranged in certain positions.
Japanese: 櫓下番付、辻番付という大版1枚刷りのものと形状はおなじであるが、上段には定紋を打った櫓幕を描き、その周囲に座元、役者、作者などの名をいっていの位置に配して書いた。
English: An image of zato was drawn at the center of the lower, tateoyama's image (leading female impersonator) on his left, the villain actor's image on his right, and the images of other actors were drawn in certain positions they were assigned.
Japanese: 下段には座頭を中心に立女形を左方に、敵役を右方に全役者をそれぞれ相当の位置に配して絵姿を描いたものである。
English: The main playwrights and chief producers were responsible for deciding the positions of the pictures of actors in kaomise banzuke, which often involved controvertial discussions.
Japanese: この位置を定めるのは主作者と座元との責任であり、しばしば物議を醸した。
English: A beautiful noblewoman appears in front of King Mu of Zhou to dedicate a peach tree branch with blossoms bloomed by the prestige and virtues of the emperor, which is said to bloom and bear fruit only once in three thousand years.
Japanese: 周の穆王(周)の元に美しい貴女が、帝の威徳によって咲いたという三千年に一度開花結実するモモの花の枝を献上しに現れる。
English: The woman, who is an incarnation of Seiobo (Queen Mother of the West), returns to the heavens to bring the peach to the king.
Japanese: この女は西王母の化身であり、桃の実を持って来るために一度天上へ帰って行く。
English: The emperor has orchestral music played while waiting for Seiobo to come down to visit him; Seiobo comes down amidst a flock of birds of the Buddhist paradise – peacocks, phoenixes and Karyobinnga (birds having a face of a beautiful woman and a sweet voice) – flying about.
Japanese: 帝が管弦を奏させて西王母の来臨を待っていると極楽の鳥である孔雀と鳳凰と迦陵頻伽が飛び交う中から西王母が降りて来る。
English: "Miyakodori nagare no shiranami" is the title of a kabuki kyogen play which is commonly known as "Shinobu no Sota" (Sota who avoids being seen).
Japanese: 『都鳥廓白浪』（みやこどりながれのしらなみ）は、通称『忍ぶの惣太』で知られる歌舞伎狂言の外題。
English: The play is based on the historical event known in the Noh play "Sumida-gawa River," in which Umewaka YOSHIDA was kidnapped by a human trafficker called Shinobu no Sota and died on the bank of Sumida-gawa River.
Japanese: 能の『隅田川(能)』で有名な、吉田梅若が人買いの忍ぶの惣太にかどかわされて隅田川の畔で死んだ故事をもとにしている。
English: Rokuro YAMADA, a vassal of the Yoshida family, who was expelled from his master's house for having had an immoral relationship with a chamber maid KAJIURA, is disguised himself as a seller of Sakuramochi (rice cake with bean jam wrapped in a preserved cherry leaf) in Mukojima of Togoku (the eastern part of Japan, particularly Kanto region).
Japanese: 吉田家の家臣山田六郎は、腰元梶浦との不義がもとで主家を追放され、東国の向島で桜餅売りに身をやつしている。
English: He only lives with his wife Okaji and calling himself otokodate (one who seeks to right wrongs) 'Shinobu no Sota,' he has been fighting with Juemon KATSUSHIKA over keisei (courtesan with high dignity and literacy) Hanako.
Japanese: 女房お梶との二人暮らしで、男伊達「忍ぶの惣太」と名乗って葛飾十右衛門と傾城花子を争っている。
English: Meanwhile, he is told that the treasure of the Yoshida family, 'Genealogical table of Miyakodori,' was stolen by someone and his lord Matsuwaka YOSHIDA has gone missing.
Japanese: そんな中、飛び込んできたのが、吉田家の家宝「都鳥の系図」が何者かによって盗まれ主君吉田松若は行方不明との知らせ。
English: Sota thinks it is a matter of grave concern to the family and busily engages in the search for the genealogical table, but he is short of funds for it, and what is worse, he is made night-blind by a gang of thieves.
Japanese: 主家の一大事と惣太は系図探しに奔走するが、活動資金も足りず、さらに盗賊団によって鳥目にされてしまう。
English: When night-blind Sota is groping around, he notices the boy carrying a large sum of money in his bosom, which makes him to decide to choke him to death.
Japanese: 夜盲症で目が見えない惣太は手探りで少年の懐の大金を知り、已む無く少年を絞殺する。
English: In fact the boy is Umewakamaru: Matsuwaka's younger brother, who has come all the way to Togoku with his mother counting on Sota for help but was separated from his mother and yakko (varlet) Gunsuke by pursuers.
Japanese: この少年こそ松若の弟梅若丸で、母とともに惣太を頼って東国まで流れてきたのだが、追手によって母と奴軍助と離れていたのだ。
English: Keisei Hanako is Kiritaro the Tengu kozo (which literally means long-nosed goblin boy) in disguise, who is the head of the gang of thieves, but in fact he is Matsuwaka YOSHIDA who became a robber to investigate the theft of the genealogical table.
Japanese: さて、傾城花子は天狗小僧霧太郎という盗賊団の頭の変装した姿であるが、実は吉田松若が系図の詮議のため盗賊となっているのであった。
English: Sota notices it so that he redeems Hanako and takes her (him) home, but he has Hanako and the genealogical table taken away by the stratagem of Yoine no Ushiemon (Ushiemon the early bed) who is the real perpetrator of the robbery of the genealogical table.
Japanese: 惣太もそのことに気付き身請けして自宅に連れ帰ったのだが、系図盗難の真犯人、宵寝の丑右衛門の計略で花子と系図を奪われてしまう。
English: When Sota is in despair, yakko Gunsuke, Sota's father-in-law, comes to let him know that Umewaka was killed and he commits suicide suffering from a guilty conscience.
Japanese: 悲嘆にくれる惣太のもとに舅である奴の軍助が来て梅若殺害を知らせ、申し訳なさに自害する。
English: Sota gets a shock realizing that the boy is the younger brother of his lord, but on the other hand, the self-sacrifice made by his wife Okaji cures his night blindness.
Japanese: さてはあの時の少年はご主君の弟と驚く惣太であったが、女房お梶の自己犠牲で鳥目が治る。
English: Then Juemon rushes to his side and encourages him telling that Okaji was his true younger sister.
Japanese: そこに十右衛門が駆け付けお梶が実の妹であったことを告げ惣太を励ます。
English: Meanwhile, Hanako, or Matsuwaka, kills Ushiemon, who tried to rob him of the genealogical table, is getting ready to leave the place with it in his hand.
Japanese: 一方花子こと松若は系図を奪おうとする丑右衛門を殺し、系図を手に入れた上からは早速立ち退こうとする。
English: The original script of the play was "Sakura Kiyomizu Seigen" (written by Hyozo KATSU the second), and "Miyakodori nagare no shiranami" is its revised edition which Shinshichi wrote for a popular actor from Kamigata (Kyoto and Osaka area), Kodanji ICHIKAWA (the fourth) when Shinshichi was in obscurity without hits.
Japanese: もとは『櫻清水清玄』（鶴屋南北作）という脚本であったが、人気作に恵まれず不遇をかこっていた新七が上方下りの人気役者市川小團次(4代目)のために改訂版として作った。
English: Shinshichi rewrote the script employing some unique techniques: the scene of Umewaka-killing was accompanied by gidayu (a style of reciting dramatic narratives; gidayu accompaniment is also called chobo) which goes well with Kamigata-born Kodanji's performing style, and lines of Umewaka and Sota became warizerifu (divided speech) in seven-and-five syllable meter for a good sound.
Japanese: 新七は梅若殺しの場を、義太夫の伴奏（チョボ）を入れて上方生まれの小團次の芸風に合わせ、梅若と惣太の台詞を七五調で耳に響きのよいの割科白にするなどの工夫をこらして書き換えた。
English: These modification gained the favor of Kodanji and later they became a good combination to produce some other famous plays: "Tsutamomiji Utsunoya-toge" (also known as "Bunya goroshi" [Killing of Bunya]), "Sannin Kichisa kuruwa no hatsugai" (also known as "Sannin Kichisa" [Three Men Named Kichisa]), "Kanzen choaku nozoki karakuri" (also known as "Choan MURAI"), "Nezumi komon haruno shingata" (also known as "Nezumi kozo"), "Kosode soga azami no ironui" (also known as "Izayoi Seishin"), "Hachiman matsuri yomiya no nigiwai" (also known as "Chizimiya Shinsuke") and so on.
Japanese: このことが小團次の気に入り、以降新七と小團次の名コンビによる『蔦紅葉宇都谷峠』（文弥殺し）、『三人吉三廓初買』（三人吉三）、『勧善懲悪覗機関』（村井長庵）、『鼠小紋東君新形』（鼠小僧）、『小袖曾我薊色縫』（十六夜清心）、『八幡祭小望月賑』（縮屋新助）などの名作が作られてゆくことになる。
English: The reputation Tanosuke enjoyed as a distinguished child actor from this stage brought about his successful career and cooperative relationship between Shinshichi and Tanosuke.
Japanese: このとき名子役と評されたことが出世の糸口となり、また新七と田之助との提携の始まりともなった。
English: The killing scene in the prologue with the night view of cherry blossoms in the background was produced by the technique called Honkatori (writing poems quoted parts of old poems), quoting parts from "Sumida no haru geisha katagi" (also known as "Yoshibe UMENO") written by Gohei NAMIKI.
Japanese: 序幕の美しい夜桜を背景とする殺人場は、並木五瓶の『隅田春妓女容性』（梅の由兵衛）を下敷きにしたいわゆる本歌取の作品。
English: Sewa Danmari (a wordless pantomime) at the end of the scene, in which you can see the beautiful otokodate, plainly-dressed masseur and seductive movements of prostitute, has the appeal similar to Nishikie (colored woodblock print).
Japanese: 幕切れの世話だんまりは、男伊達の美しい姿と粗末な按摩の姿になまめかしい遊女が動く錦絵のような味わいがある。
English: The scene that Ushiemon and Hanako carried in palanquins exit through hanamichi (the passage through audience to stage) in the second act is based on "Osome Hisamatsu ukina no yomiuri" (also known as "Osome no Nanayaku" [seven roles of Osome]).
Japanese: また、二幕目の丑右衛門と花子の駕籠をかついでの花道の引っ込みは『於染久松色読販』（お染の七役）を下敷きにしたもの。
English: In addition, the idea that Ushiemon appears as a masseur called Ushichi and opens his eyes to reveal his true character is based on Motoemon in "Katakiuchi Tengajayamura" (The Revenge at Tengajaya; also known as "Tengachaya"), and Tomoemon OTANI (the fourth) who gained a reputation for the role was casted as Ushiemon.
Japanese: さらに丑右衛門が丑市という按摩で登場し、目を開けて本性を現すのは『敵討天下茶屋聚』（天下茶屋）の元右衛門を下敷きにしており、その役を当たり役とした丑右衛門役の大谷友右衛門(4代目)に充てはめたものである。
English: The familiar setting of the character as a beautiful young man in the disguise of a beautiful woman is later to be adopted in the several works of Mokuami, such as "Aotozoshi hanano nishikie" (also known as "Shiranami Gonin Otoko" [The Five Shiranami Men]), "Fujibitai tsukuba no shigeyama" (also known as "Onna Shosei" [female student]; in contrast, this is about a beautiful woman in male dress) in the Meiji period, and so on.
Japanese: 美女に扮した美青年というお馴染みの人物設定は、その後の『青砥稿花紅彩画』（白浪五人男）や明治期の『富士額男女繁山』（女書生、こちらは逆に男装の麗人）など、その後の黙阿弥作品に幾度か採用されることになる。
English: Omanma no tachimawari (a fight while eating) in the final scene is a borrowing from "Umeyanagi wakabano kagazome" (also known as "Yanagisawa sodo") by Nanboku TSURUYA (the fourth).
Japanese: また、大詰の「おまんまの立ち回り」は鶴屋南北(4代目)の『梅柳若葉加賀染』（柳澤騒動）から借用したものである。
English: Mokuami's brilliant and unique techniques including the actor's quick change from Sota to dull-witted Minezo as a waiter turn the play of a serious story into a witty show leaving the audience with a pleasant aftertaste.
Japanese: 惣太役の役者にぼけ的な峰蔵を給仕として早変わりで登場させるなど、深刻な内容の劇を洒落た見世物に仕立て上げ、後味を良くしてしまう黙阿弥独特の手法が光る。