nntsuzu/KFTT huggingface dataset:
English: The role of Sota is specialized by Eno ICHIKAWA, the present Ennosuke ICHIKAWA (the third), and the present Nizaemon KATAOKA (the 15th).
Japanese: 惣太は、市川猿翁、当代の市川猿之助(3代目)、当代の片岡仁左衛門(15代目)が得意としている。
English: Although Sota has a visual disability of 'night blindness,' the actor is not supposed look so.
Japanese: ｢鳥目」でものを見るのも不自由なのにもかかわらず、それらしく演じてはならない。
English: Kodanji ICHIKAWA IV as Shinobu no Sota who is in fact Rokuro YAMADA: vassal of the Yoshida family, and Konoha no Minezo.
Japanese: 忍ぶの惣太実ハ吉田家家臣山田六郎・木の葉の峰蔵：市川小團次(4代目)
English: The bunshi-geki is an amateur drama performed mainly by literary people such as writers and journalists.
Japanese: 文士劇（ぶんしげき）は、作家、新聞雑誌記者などの文学者が演者の中心となって上演されるアマチュア演劇である。
English: It was the performances by the Wakaba-kai which was organized in the Meiji period and its reconstituted organization, the Tokyo Mainich Shimbun Engeki-kai that made the bunshi-geki widely accepted.
Japanese: 文士劇が広く認められるようになったのは、明治時代に組織された若葉会と、その後身である東京毎日新聞演劇会による公演によってである。
English: The Wakaba-kai was organized in 1905 by drama critics of newspaper companies in Tokyo.
Japanese: 若葉会は、明治38年(1905年)5月、在京新聞社の劇評記者によって組織された。
English: Its leading members were as follows: Nobuhiko MIGITA, Kigoromo KURISHIMA in the Tokyo Asahi Shimbun, Onitaro OKA, Shiko OKAMURA in the Niroku Shimbun, Baisetsu ISAKA in the Jiji Shimpo, Oko KASHIMA in the Hocchi Shimbun, Ryokusui KOIDE in the Jiji Tsushin, Ganami SUGI in the Tokyo Mainich, Toshiro MATSUMOTO in the Jinmin Shimbun and so on, and Kido OKAMOTO in the Mainichi Shimbun as a writer.
Japanese: 主な会員は、東京朝日新聞の右田寅彦、栗島狭衣、二六新聞の岡鬼太郎、岡村柿紅、時事新報の伊坂梅雪、報知新聞の鹿島桜巷、演芸通信の小出緑水、東京毎日の杉贋阿弥、人民新聞の松本当四郎などであり、毎日新聞の岡本綺堂が作者として参加している。
English: The programs were "the third Act of Kanadehon Chushingura", 'Yasuna Kyoran', and "Nichiren Shonin Tsuji Seppo" by MORI Ogai, "Tenmokuzan" by Kido OKAMOTO and so on, which gained unexpected popularity.
Japanese: 出し物は『仮名手本忠臣蔵』三段目、『保名狂乱』、森鴎外『日蓮聖人辻説法』、岡本綺堂『天目山』などで、意外な好評を博している。
English: Thereafter, in order to manage the bunshi-geki as an enterprise the Tokyo Mainichi Shimbun organized the Tokyo Mainichi Shimbun Engeki-kai with SUGI, KURISHIMA and OKAMOTO as leading members and put the first play on the stage of the Meiji-za for five days from December 1, 1906.
Japanese: 後に文士劇を東京毎日新聞社で事業として経営しようとし、結局、杉、岡、栗島および岡本の4人を中心に東京毎日新聞演劇会が組織され、明治39年(1906年)12月1日から5日間明治座で第1回を上演。
English: Female roles were acted by Kuwahachi ICHIKAWA, Noshiho BANDO and other actresses and professional female impersonators including Sumizo ICHIKAWA, Shinjuro ICHIKAWA and others.
Japanese: 女形には市川九女八、阪東のしほ、その他の女優、本職の市川寿美蔵、市川新十郎その他が参加した。
English: It had had six performances by December, 1908, but it dispersed because of changes of organization of the Tokyo Mainichi Shimbun.
Japanese: 明治41年(1908年)12月までに6回開演したが、東京毎日新聞社の組織変更とともに解散した。
English: The Morioka bunshi-geki began in 1949 with Hikojiro SUZUKI, a writer, as a central figure and had been performed thirteen times until 1962 at the Morioka Theater (old Morioka Theater) as a Morioka's annual year-end attraction.
Japanese: 盛岡文士劇は、昭和24年、作家の鈴木彦次郎を中心に始まり、歳末恒例の盛岡名物として第13回の昭和37年まで盛岡劇場（旧盛岡劇場）で上演された。
English: Since then to the present (2007), the bunshi-geki has been performed only in this theater in Japan.
Japanese: 以降、現在（平成19年）に至るまで、日本で唯一の文士劇として公演を行っている。
English: At present not only the local writers but also local cultural figures and local people from media are on the stage.
Japanese: 現在では、地元作家の出演のみならず、地元文化人、地元マスコミ関係者も出演。
English: On September 27, 1997, in commemoration of the 50th anniversary of Mystery Writers of Japan, Inc., a bunshi-geki "The Nijjumenso We Loved" was put on the stage with Kenzo KITAKAWA as a chief director, Masaki TSUJI as a scenario writer and forty-two members as actors and actresses.
Japanese: 平成9年(1997年)9月27日に、日本推理作家協会の設立50周年を記念し、北方謙三を理事長とし、脚本辻真先、協会員42名出演による文士劇『ぼくらの愛した二十面相』が上演された。
English: Kanei-bunka means the culture that prospered during the first half of the 17th century (the early Edo period), namely the culture sandwiched between Momoyama-bunka of the latter half of the 16th century and Genroku-bunka of the latter half of the 17th century.
Japanese: 寛永文化（かんえいぶんか）とは、16世紀の桃山文化と17世紀後半の元禄文化に挟まれた17世紀前半（江戸時代初期）の文化。
English: It refers to the culture that prospered during the period of about 80 years from Keicho/Genna era to Kanei era.
Japanese: 寛永年間を中心として、慶長あるいは元和(日本)から寛文年間の約80年前後の時期を指す。
English: The center of Kanei-bunka was Kyoto, and people of merchant class who inherited the tradition of medieval times and those of Imperial Court who gathered around the Emperor Gomizunoo created classical Japanese arts/culture against the Edo bakufu, which strived to strengthen the feudal system.
Japanese: 寛永文化の中心は京都であったとされ、中世以来の伝統を引き継ぐ町衆勢力と後水尾天皇を中心とする朝廷勢力が、封建制を強化する江戸幕府に対抗する形で古典文芸・文化の興隆を生み出した。
English: Later, culture based on Confucianism and samurai class was created in Edo, and such cultural structure that has two centers in Edo and Kyoto spread to local cities including Kanazawa City.
Japanese: 後に江戸においても儒学・武家を中軸とした文化が形成され、東西に2焦点の楕円形の文化構造が互いに交錯しながら各地に広がり、金沢市などの地方都市を巻き込んでいった。
English: During the initial stage, 'kabuki' culture, which was influenced by Momoyama-bunka and represented by Izumo no okuni and Shigenari FURUTA, became very popular.
Japanese: 初期には出雲阿国や古田重然に代表されるように桃山文化の影響を受けた「かぶき」の文化が一世を風靡した。
English: After Genna-Enbu (peace after Genna era), however, various salons were created among the people of various classes.
Japanese: しかし、元和偃武後には各階層において様々なサロンが形成されるようになった。
English: Famous persons are SEN no Sotan/Sowa KANAMORI/Enshu KOBOI of tea ceremony, the Emperor Gomizunoo/Senko IKENOBO of flower arrangement, Sakuden ANRAKUAN/Tameharu MIURA/Teitoku MATSUNAGA/Mitsuhiro KARASUMARU of literature, Jozan ISHIKAWA/Razan HAYASHI/Seii HORI of Confucianism study, Soho TAKUAN/Monju ISSHI/Shosan SUZUKI of Zen, Nobutada KONOE/Shojo SHOKADO/Koetsu HONNAMI of Kanei no sanpitsu (the three masters of calligraphy in Kanei era), Soan SUMINOKURA/Nobuhiro KONOE of calligraphy, Sotatsu TAWARAYA/Tanyu KANO of paintings and Ninsei NONOMURA of ceramic art.
Japanese: 代表的な人物としては、千宗旦・金森宗和・小堀遠州の茶道、後水尾天皇・池坊専好の生け花、安楽庵策伝・三浦為春・松永貞徳・烏丸光広などの文学、石川丈山・林羅山・堀正意の儒学、沢庵宗彭・一糸文守・鈴木正三の禅、近衛信尹・松花堂昭乗・本阿弥光悦の寛永の三筆、角倉素庵・近衛信尋の書、俵屋宗達・狩野探幽の絵画、野々村仁清の陶芸などが挙げられる。
English: As for the buildings at the time, Katsura Imperial Villa constructed by Imperial Prince Tomohito, Shugakuin Imperial Villa constructed by the Emperor Gomizunoo and Nikko Tosho-gu Shrine constructed by Iemitsu TOKUGAWA are well-known.
Japanese: また当時の建築物としては智仁親王の桂離宮・後水尾天皇の修学院離宮・徳川家光の日光東照宮などが著名である。
English: In addition to the implementation of strict caste system, economy in Kyoto became stagnant since it was an inland city and couldn't utilize water transportation network.
Japanese: だが、身分分化の進行に加えて、内陸都市であった京都は水運ネットワークに乗る事が出来ずに経済的に低迷期に入る。
English: Instead, Genroku-bunka prospered in Osaka which became the center of economy in kamigata (Kyoto and Osaka area).
Japanese: 代わりに上方の経済的中心となった大坂を中心とした元禄文化が花開く事になる。
English: It was serialized in "Waseda Bungaku (Waseda Literature)" from November 1894 to September 1895.
Japanese: 1894年（明治27年）11月から1895年（明治28年）9月にかけ『早稲田文学』に連載。
English: Shoyo had already made great achievements in the creation of Japanese literature by publishing two works: "Essence of Novels" and "Tosei shosei katagi (The Character of Modern Students, 1885-6)."
Japanese: すでに逍遥は『小説神髄』『当世書生気質』の二作で日本の近代文学創造に大きな業績をあげていた。
English: While he was engaged in translating Shakespeare's English works, he launched the creation of Japanese modern dramas.
Japanese: イギリスのシェークスピアの翻訳に従事する傍ら、日本の近代劇の創造にも手を染めた。
English: Aiming at creating a new kabuki drama unlike traditional unrealistic scripts or historical drama modernized only on the surface, he published a paper titled "Wagakuni no Shigeki (Japan's historical drama)" in 1893 and put his theory into practice by creating this work.
Japanese: 従来の荒唐無稽な歌舞伎脚本やうわべだけの近代化に終わった活歴物と違う、新しい歌舞伎劇を目指すべく、1893年（明治26年）論文『我が邦の史劇』を発表、その実践例としてこの作品を創作した。
English: Shoyo cited the following motives for creating "Kiri Hitoha" in 1915: Dissatisfaction with historical dramas; wishing to combine the advantages of Shakespeare's histories and Kabuki; and wishing to compose a serious tragedy of different episodes.
Japanese: 逍遥は、1915（大正6）年に、活歴物への不満、シェークスピアの史劇の長所と歌舞伎の長所をうまく調和させたかったこと、深刻な悲劇を歌舞伎風のさまざまな挿話で作り上げたかったことなどが「桐一葉」創作の動機であると述べている。
English: He also wrote it on the assumption that Katsumoto would be acted by Danjuro ICHIKAWA the ninth and Yodogimi by Kikugoro ONOE the fifth.
Japanese: なお、逍遥は且元に九代目市川團十郎を、淀君には五代目尾上菊五郎をあてはめた書いた。
English: Shoyo made his disciple, Saseki HASEGAWA, write it as a draft on the theme of disturbance within the Toyotomi family immediately after Osaka Natsu no Jin (Summer Siege of Osaka).
Japanese: 始め大坂夏の陣直後の豊臣家の混乱をテーマとして弟子の長谷川沙石に原案を書かせた。
English: Kiri Hitoha script commonly presented today was written 'for a demonstratio'in performances at Teikoku-Gekijo Theatre in April 1915.
Japanese: 今日よく上演されるのは1915年（大正6年）4月帝国劇場上演時に「実演用」として書かれたものである。
English: It is performed in the traditional kabuki kyogen play with Joruri (a dramatic narrative chanted to a samisen accompaniment), Shimoza (background music player), and narimono (musical instruments) frequently used for stage effect, but the contents of the play is a large scale tragedy greatly influenced by Shakespeare.
Japanese: 演出は浄瑠璃や下座、鳴物などを多用する旧来の歌舞伎狂言の形態であるが、内容はシェークスピアの影響の濃いスケールの大きな悲劇である。
English: Shoyo said, 'In short, I started to write this work with a view and ambition in my mind to inspire noble, hero- and lady-oriented, intellectual audience, who like historical dramas, the maruhon shiki (style of complete set of books) and kusazoshi-style featuring common, rude people and having a lot of ordinary and interesting scenes--contrary to the characteristics of those audiences--and imply my ambition to support the so-called kokugeki shiki (national drama style)--a non-doctorine, loose, and neutral style--to foreign aesthetes, who hold a strict and rigid view.'
Japanese: 逍遥の言葉「・・・要するに、彼の貴族的な、英雄本位、淑女本位の高尚がりの活歴派に対しては、それとは反対の、平民的な、不作法な、凡人沢山、風情沢山の丸本式、草双紙式を発揚し、厳格な、窮屈な外国の審美論に対しては、無主義の、放埒な、いわば不即不離の国劇式を、暗に擁護しようという主張と抱負とが内心にあって、彼の作を書き始めたのである。」
English: Its sequel, "Hototogisu Kojo no Rakugetsu (The Sinking Moon over the Lonely Castle Where the Cuckoo Cries)" was first performed at Osaka Kadoza theater in May 1905.
Japanese: 続編の『沓手鳥孤城落月』は1905（明治38）年5月に大阪角座で初演された。
English: In addition, he made an unreasonable demand for the transfer of Hideyori TOYOTOMI to Yamatokoriyama, annual sankin (daimyo's alternate-year residence in Edo), and offering Kodaiin to Edo as a hostage, intimidating to attack the family otherwise.
Japanese: あまつさえ、豊臣秀頼を大和郡山に転封の上、将軍家に毎年参勤、高台院を人質に江戸にさし交わすこと、さもなくば攻めほろぼすとの無理難題を突きつけている。
English: Katsumoto KATAGIRI who acted as a negotiator with the Tokugawa clan inevitably became a target of attacks against the Toyotomi family.
Japanese: 勢い、豊臣家の攻撃の矢は、徳川氏との交渉役をつかさどる片桐且元に向けられた。
English: A groundless rumor was circulated that he was an unfaithful guy in secrete communication with Tokugawa, and there were signs of attempts at overthrowing Katsumoto in the Osaka-jo castle.
Japanese: きゃつは不忠極まる輩で、内通しているとあらぬ噂が飛びかい、且元失脚を狙うきな臭い動きが大阪城内に立ち込めている。
English: Ginnojo was the son of a distinguished family; he was a younger brother of Kuranosuke WATANABE, senior vassals of the Toyotomi family, and his mother was Shoeini, Yotdodono's confidant.
Japanese: 銀之丞は豊臣家の重臣渡辺内蔵之介の弟、母は淀殿の腹心正栄尼という名家の御曹司である。
English: Seeing the couple having an argument, Chinpaku decided to gave up katsumoto and sided with Doken ONO and his son, although they had been political enemies.
Japanese: 争う二人を見ながら、珍伯は且元に見切りを付け政敵の大野道軒親子につくことを決意する。
English: Regarding Katsumoto as Kanja (spy) of Tokugawa, Doken ONO and his son Shuri ONO plot to tempt impulsive Ishikawa Izu no kami (Governor of Izu Province) to kill Katsumoto within the castle.
Japanese: 大野道軒は子の大野修理とともに且元を徳川の間者とみなし、直情な石川伊豆守をそそのかして城内にて討ち果たす手立てを講じる。
English: During the celebratory feast under cherry blossoms in full bloom, two guys wearing masks of Buaku (demons) appeared with a female mago (packhorse driver).
Japanese: 桜が満開の中での祝宴の最中、武悪の面をかぶった二人の奴が女馬子とともに現れる。
English: Then Shoeini came to inform her of the three unreasonable demands, that made her temper grow worse and worse.
Japanese: そこへ正栄尼が徳川家の三つの難題を知らせに来たため、淀君のヒステリーはひどくなるばかりである。
English: Shuri ONO, Yodogimi's favorite retainer advises that Katsumoto KATAGIRI be purged for treason.
Japanese: 淀君の寵臣大野修理は、片桐且元を不忠者として粛清することを進言する。
English: Hideyori was pursuade by Shigenari KIMURA, who attended the castle at that time, ordered Shigenari to act as an envoy to find out Katsumoto's real intentions.
Japanese: 折しも登城した木村重成の説得に、秀頼は重成を使者に立てて且元の本心を探ることを命じる。
English: His wife Hitoha shed tears and expressed the intolerable hardship about her husband being abused as a traitor or coward.
Japanese: 奥方の一葉は夫が裏切り者や卑怯者と謗られるのに耐えきれず涙ながらに苦渋を訴える。
English: Katsuyori expresses his opinion that a conflict with the Tokugawa family is inevitable, but it is time to gain strength and wait for right time.
Japanese: 且元は本心を明かし、徳川家との衝突は早晩避けられないが、力を蓄えて時節を待つこと。
English: Chinpaku ordered by the father and son of the Ono tells Kagero to ask her fiancé, Shigenari KIMURA, for good offices in order to save her father.
Japanese: 大野親子の命を受けた珍伯は、通りかかった蜻蛉に父の命を助けたくば許婚の木村重成に取り次いでもらえと告げる。
English: This is in fact a plot to make him dispel Yodogimi's disfavor and attend the castle before killing him there.
Japanese: 実は重成のとりなしで淀君の勘気を解かせ、且元を登城させて討つ陰謀なのである。
English: Shoeini visits Kagero and urges her to get married with Ginnojo and write a letter to Katsumoto to ask him to attend the castle, in exchange for saving the hardship of her father.
Japanese: 蜻蛉のもとに正栄尼が訪れ、父の苦境を救う代わりに銀之丞と祝言を上げるよう、そして且元に登城を願う文を書けと迫る。
English: Aeba comes back after Shoeini goes out and reveals the plot of the father and son of the Ono, saying that writing letter could put her father into jeopardy.
Japanese: 正栄尼が去った後入れ違いに来た饗庭は、大野親子の陰謀を明かし文を書けば父の命が危ないことを告げる。
English: Ginnojo, knowing that he is able to marry her, indulges in orgies with female servants.
Japanese: 銀之丞は蜻蛉と結ばれることを知って大喜び、腰元らと乱痴気騒ぎを演じている。
English: (The original version subsequently includes a scene where Doken and Shoeini are plotting to kill Katsumoto and a report that Shuri ONO was soothing Yodogimi who was starting to go mad.)
Japanese: （原作では、このあと道軒と正栄尼との間に且元暗殺の陰謀をめぐらせる場面と、淀君の精神が狂い始め大野修理がとりなしている報告の件がある。）
English: Afflicted by anxiety, Yodogimi is enjoying her tryst with Shuri ONO to escape reality.
Japanese: 不安にさいなまれた淀君は、現実から逃れようと寵臣の大野修理と逢瀬を楽しんでいる。
English: However she suffers again from the vengeful ghostof Hidetsugu and mistakenly kills Chinpaku who was coming to her.
Japanese: しかしまたしても秀次の怨霊に苦しみ、来かかった珍伯を誤って殺害する。
English: Katsumo makes a decision and is about to attend the castle when he receives a letter from Yodogimi that she never doubted his loyalty.
Japanese: 淀君からその方の忠節を疑わないという手紙が届き、且元は意を決して登城せんとする。
English: Joshin ODA, a friend of his, informs that the letter from Yodogimi was a plot of the father and son of the Ono and that his daughter Kagero has committed suicide.
Japanese: しかし、友人の織田常真から、淀君の手紙は大野親子の陰謀であることと娘蜻蛉の自害がもたらされる。
English: Ishikawa Izu no kami rush to people here who are feeling uneasy and urges them to start fighting together to defeat the father and son of the Ono.
Japanese: 皆がいぶかるところへ石川伊豆守が駆け付け、大野親子を誅せんと戦闘をしかけ共に闘うことを勧める。
English: However Katsumoto criticized him for his shallow thinking and grieved to know that an internal conflict in the Toyotomi family had given an opportunity to the Tokugawa family of taking advantage of the conflict and that his plan had been bedeviled by inadvertent behavior of Izu no kami.
Japanese: しかし且元はその短慮を攻め、豊臣家の内紛が徳川家に付け込まれる一因となり伊豆守の勝手な行為で自らの計画が潰れてしまったと嘆く。
English: Seeing paulownia leaves slowly falling, he sighs and says, '我が名にちなむ庭前の、梧桐尽く揺落なし、蕭条たる天下の秋、ああ有情も洩れぬ栄枯盛衰、是非もなき定めじゃなあ。'
Japanese: 庭の桐の葉が静かに散りゆくのを見ながら「我が名にちなむ庭前の、梧桐尽く揺落なし、蕭条たる天下の秋、ああ有情も洩れぬ栄枯盛衰、是非もなき定めじゃなあ。」と嘆息する。
English: After a member in the group of the father and son of the Ono is driven away with a gun, Katsumoto who goes to the bank of the Yodo-gawa River alone before dawn stares at Osaka-jo castle in the distance with emotion as he waits for Shigenari KIMURA.
Japanese: 且元を討とうとする大野親子の一味が鉄砲で追われた後、ただ一騎でやってきた且元は、夜明け前の淀川の堤で遠く大阪城をながめ感慨にふけりながら、木村重成を待つ。
English: Before long when Shigenari arrives, Katsumoto opens his heart and regrets that he had been devoted to the Toyotomi family to the very end in vain and that the war with the Tokugawa family became inevitable.
Japanese: やがて馬を馳せて駆けつけた重成に自身の思いを打ち明け、最後の最後まで豊臣家のために尽くしたのもむなしく、もはや徳川家との戦争は避けられなくなったことを共に嘆く。
English: Yodogimi was a star role for Utaemon NAKAMURA the fifth and Yorimoto was a star role for KATAOKA Nizaemon the eleventh.
Japanese: 五代目中村歌右衛門は淀君を、十一代目片岡仁左衛門は且元をそれぞれ当たり役とした。
English: Utaemon was so obsessed with his performance of hysteric Yodogimi that he visited a mental hospital to observe patients.
Japanese: 歌右衛門は、ヒステリー気味の淀君を演じる際、わざわざ精神病院に出向いて患者を観察したほどの入れ込みようであった。
English: He himself established 'Yodogimi shu' of his family's accomplishment and his skillful expression of her elocution was impersonated or recorded on discs offered for sale.
Japanese: 彼自身「淀君集」という家の芸を確立したり、そのエロキューションの巧さは物真似になったりレコードで販売されるほどであった。
English: This artistic proficiency was handed down to their sons, Utaemon NAKAMURA (the sixth) and KATAOKA Nizaemon (the 13th).
Japanese: その芸脈は子息の中村歌右衛門(6代目)、片岡仁左衛門(13代目)に継承された。
English: In addition, Shigenari KIMURA played by Uzaemon ICHIMURA (the 15th) and Jukai ICHIKAWA (the thirrd) and Ginnojo played by Kikugoro ONOE (the sixth) and Baiko ONOE (the seventh) were so great that they were long remembered in history.
Japanese: また、市村羽左衛門(15代目)、市川壽海(3代目)の木村重成、尾上菊五郎(6代目)・尾上梅幸(7代目)の銀之丞は歴史に残る名演技であった。
English: In particular, Shigenari KIMURA played by Jukai in 1968 was perfection.
Japanese: とくに1968年（昭和43年）に寿海が演じた木村重成は絶品であった。
English: Jukai was over 80 years old when he performed the role, but it is said that his fresh acting style and delightful delivery made himself look in every respect like a twenty-year old young man as written in the script.
Japanese: 演じた年が80を越えていたにもかかわらず、その清新な芸風と爽やかな口跡により、どう見ても台本に指定されている20歳の若者であったと言われている。
English: Nizaemon KATAOKA (the 13th), who was not able to forget great performances by Nizaemon KATAOKA (the 11th) who played Katsumoto and by Uzaemon ICHIMURA who played Shigenari, performed 'Nagara zutsumi' with his son Takao (present Nizaemon KATAOKA) at Tenryu-ji Temple in the 1960's.
Japanese: 片岡仁左衛門(13代目)は、片岡仁左衛門(11代目)の且元と十五代目羽左衛門の重成との素晴らしさが忘れられず、1960年代に、天竜寺で子息の孝夫（現片岡仁左衛門）と「長柄堤」を演じた。
English: At that time Nizaemon performed his father's serifu mawashi (theatrical elocution) and taught Takao serifu mawashi of Uzaemon.
Japanese: その時、仁左衛門は父の科白回しを演じ、孝夫には羽左衛門の科白回しを伝授した。
English: Nizaemon's desire to perform 'Nagara zutsumi' together with Takao at least once on a theater stage was achieved in run-through performances at National Theater in November 1988.
Japanese: 仁左衛門は一度は劇場の舞台で孝夫と「長柄堤」を共演するのが念願とし、1988年（昭和63年）11月、国立劇場の通し公演で実現することになる。
English: (In addition, Yodogimi played by Baiko ONOE the seventh and Izu no kami played by Uzaemon ICHIMURA the 17th) It was planned to record the performance of Senshuraku (the last day of a performance) in the film at that time.
Japanese: （ほか、七代目尾上梅幸の淀君・市村羽左衛門(17代目)の伊豆守）このとき千秋楽をフィルムに記録する予定であった。
English: However, unfortunately it was not realized because Nizaemon came down sick suddenly the previous day.
Japanese: しかし、前日に仁左衛門が急病で倒れたので残念ながら見ることが出来ない。
English: Words written by Shoyo, unlike traditional words in Kabuki, uses a difficult passage, but are of high artistic quality, giving dignity to this drama.
Japanese: 逍遥の手になる台詞は、それまでの歌舞伎のセリフと違い難解な語句を多用しながらも芸術性豊かな出来でこの劇の品格を高めている。
English: The most famous are the sorrowful words by Katsumoto and Shigenari at 'Nagara zutsumi,' a monologue by Katsumoto of Scene one, Act six, 'Associated with the name of the family in the front yard' as mentioned above starting, and long words by Yodogimi in the third Act two.
Japanese: 最も有名なのが、「長柄堤」の且元、重成の悲痛な台詞・前述の第6幕第1場における且元の「我が名に因む庭前の」の独白、第2幕第3場の淀君の長台詞である。
English: 咲き乱れたる山百合の、あの絵襖を見るにつけ、思いぞいずる過来しかた、所も加賀の白山なる、千蛇が池の名産と、世に聞こえたる黒百合の、その花くらべが原となり、北政所の憎しみ受け、はかなく滅びし佐々成政。'
Japanese: 「咲き乱れたる山百合の、あの絵襖を見るにつけ、思いぞいずる過来しかた、所も加賀の白山なる、千蛇が池の名産と、世に聞こえたる黒百合の、その花くらべが原となり、北政所の憎しみ受け、はかなく滅びし佐々成政。
English: いでそのころは自らが、盛りの花や春深き、聚楽殿の栄華の夢、我ひとたび笑むときは、布衣より出でて天が下、六十余州を掌握ありしあの太閤とて何の英雄。'
Japanese: いでそのころは自らが、盛りの花や春深き、聚楽殿の栄華の夢、我ひとたび笑むときは、布衣より出でて天が下、六十余州を掌握ありしあの太閤とて何の英雄。
English: 栄えときめく諸大名も、皆みずからを憚りの、関とざさねど豊臣の、世は泰平と思いのほか、さんぬる三年の秋の風、頼みに思いし治部少輔も、小西と共に木枯らしの、荒れすさびゆく木の下かげ。'
Japanese: 栄えときめく諸大名も、皆みずからを憚りの、関とざさねど豊臣の、世は泰平と思いのほか、さんぬる三年の秋の風、頼みに思いし治部少輔も、小西と共に木枯らしの、荒れすさびゆく木の下かげ。」
English: When Mr. Tsubouchi wrote "Kiri Hitoha," Kabuki was just like an autocratic large country in which Kabuki Danjuro was the Pope, Ochi-koji was dai saiso (great prime minister), and Mokuamii geki (drama) was a Constitution.
Japanese: 「坪内君が『桐一葉』を書いた時は、團十郎が羅馬法王で、桜痴居士が大宰相で、黙阿弥劇が憲法となっている大専制国であった。
English: Courage was needed to criticize or write a new script, in this situation, just like when Lutheran burned migyosho (documents for informing of decisions made by third or upper ranked authorities) of the Pope.
Japanese: この間に立って論難攻撃したり新脚本を書いたりするのは、ルーテルが法王の御教書を焼くと同一の勇気を要する。
English: ...He opened a new gate of the land of Kabuki that had been closed for hundreds of years and kept away from others.'
Japanese: ・・・何百年間封鎖して余人の近づくを許さなかったランド・オブ・カブキの関門を開いた。」
English: He opened a large hole to let modern air into the closed world of Kabuki where only scripts written by Kabuki playwrights working in the theater had been performed so far (except for the performance in 1899 of "Akugenta" written by Shoo MATSUI).
Japanese: それまで、座付の狂言作者の脚本しか上演されなかった（明治32年に松井松翁作の『悪源太』が上演されたのを例外として）閉鎖的な歌舞伎界に近代の風を通す大きな穴を開けたのである。
English: Since then, a large number of new Kabuki have been created by Onitaro OKA, Kido OKAMOTO, Kaoru OSANAI, Daigo IKEDA, Seika MAYAMA, Seiichi FUNAHASHI, Junichiro TANIZAKI and other outside writers.
Japanese: 以降、岡鬼太郎・岡本綺堂・小山内薫・池田大伍・真山青果・舟橋聖一・谷崎潤一郎など外部からの新作歌舞伎が多く作られることになる。
English: It is pointed out that Kagero was inspired by Ophelia, Ginnojo by "King Lear," his death by a scene of Ophelia's death by drowning in "Hamlet," Yodogimi's killing of Chinpaku by the murder of Polonius, and Yodogimi's characteristics by the wife of Macbeth, and so forth.
Japanese: 蜻蛉はオフェーリアに、銀之丞は『リア王』から、その死は『ハムレット』オフェーリア水死の場、淀君の珍伯殺害はボローニアス殺害の場の影響が、淀君の性格は『マクベス』の妻からの影響などがそれぞれ指摘されている。
English: Kuchikami-sake means sake that is produced through the process of chewing grain, such as rice, or seed in the mouth, spitting it out and leaving it as it is.
Japanese: 口噛み酒（くちかみさけ）は、米などの穀物や種実類などを口に入れて噛み、それを吐き出して溜めたものを放置して造る酒のこと。
English: In view of the time of importation into Japan, method of production and culture, it is thought that kuchikami-sake couldn't be the origin of Japanese sake, though both use rice as ingredient.
Japanese: 日本列島への渡来時期や製法、文化を考えると、同じく米を原料としている日本酒の原形とはなり得ないと考えられている。
English: When food containing starch is chewed in the mouth, amylase in saliva converts starch into sugar.
Japanese: デンプンを持つ食物を口に入れて噛むことで、唾液中のアミラーゼがデンプンを糖化させる。
English: When the above is spit out and left as it is, wild yeast ferments sugar and create alcohol.
Japanese: それを吐き出して溜めておくと、野性酵母が糖を発酵してアルコールを生成する。
English: Other than a method of chewing raw ingredient, there are a method of chewing cooked ingredient and a method of chewing oxidized ingredient.
Japanese: 原料は生のまま口に入れて噛む製法の他には、原料を煮炊きしたり、原料を酸敗させた後で口に入れて噛む製法がある。
English: The increase of unwanted bacteria can be controlled by oxidizing ingredient since the process of fermentation is done under the acid condition of lactic acid.
Japanese: また、原料を酸敗させることで乳酸による酸性下での発酵となるため、雑菌の繁殖を抑えることができる。
English: Though not unknown, the regions where people used to eat food containing starch, namely South-East Asia and Southern Pacific region, are supposed to be the possible birthplace of kuchikami-sake.
Japanese: 発生地は不明ではあるが、穀物以外のデンプンを含んだ植物を食べていた東南アジアから南太平洋域が有力とされる。
English: South-east Asia, such as Malaysia, where the above cultural sphere and the culture of rice cultivation of Assam region and Yunnan Province merged is the possible birthplace of kuchikami-sake made from rice.
Japanese: これらの文化圏と米が伝播していったアッサム地方や雲南省からの稲作文化の融合点であるマレーシアなどの東南アジアが、米で造る口噛み酒の発生地として有力。
English: A description, '嚼米醞酒 飲能至醉,' written in "Gisho" volume 100, Retsuden No.88 Wuji-koku indicates that kuchikami-sake was produced in coastal provinces and Mongolia.
Japanese: また、『魏書』卷一百列傳第八十八勿吉國に「嚼米醞酒飲能至醉」と沿海州やモンゴルなどでも米を原料とした口噛み酒を醸していたという記述がある。