nntsuzu/KFTT huggingface dataset:
English: From the point of view of the history of waka circles, there was a showdown between the factions of Rokujo Toke (the Rokujo Fujiwara family) and the Mikohidari family; the former put its poetics and past honor at stake in this poetry match and confronted the latter family, which had been becoming a new power as a leader in the circle of the Sekkan-ke (families which produced regents and chancellors).
Japanese: 歌壇史上、六条藤家一派はその歌学と過去の栄光を本歌合に賭して、摂関家歌壇における御子左家一派の新指導権と対決する。
English: For this reason, the arguments between Kensho (the faction of the Rokujo Fujiwara family) and Jien, Jakuren and Ietaka (factions of the Mikohidari family) became especially heated.
Japanese: そのため、特に顕昭（六条藤家派）と慈円・寂蓮・家隆（御子左家派）の論は白熱した。
English: In contrast to tanka poetry as art, doka refers to tanka (31 syllables' poem) or waka (Japanese poem) that includes Buddhist teachings or that Zen monks composed to make study and spiritual enlightenment easier to understand.
Japanese: 道歌（どうか）は、芸術である短歌とは違って、仏教の教えや禅僧が悟りや修業の要点をわかりやすく詠み込んだ短歌や和歌をのこと。
English: Long before the famous aphorism by Isoroku YAMAMOTO, 'Show your subordinates how to do a thing, talk them into doing it...,' there was a doka composed with the same meaning.
Japanese: 山本五十六の有名な言葉「して見せて、言って聞かせて…」よりも古くから同じ意味の道歌が詠まれていた。
English: When you make koicha (thick tea), be sure to use fairly hot water, dry the tea bowl before starting to make it, and stir the tea powder well into a paste; but it shouldn't be stirred so that the tea has bubbles or lumps.' (Doka by Rikyu)
Japanese: 「濃茶には湯加減あつく服は尚ほ泡なきやうにかたまりもなく」(利休道歌)
English: Basho MATSUO started as a haikai poet of the Danrin school, but gradually he produced his own style of haikai on ordinary things with a basis in traditional Japanese poetry.
Japanese: 松尾芭蕉は、当初談林派の俳諧であったが、それまでの日本における詩歌を基にしながらも、日常的なものを素材とする独自の俳諧の流儀を生み出した。
English: The principle of the Shofu style of haikai is represented by terms such as Wabi, Sabi (these two imply the beauty of simplicity), Shiori (a capacity for empathy), Hosomi (understatement), or Karomi (a light tone).
Japanese: 俳諧における蕉風の理念は、「侘び」・「寂び」・「しをり」・「ほそみ」・「かろみ」などの言葉で表される。
English: Uta monogatari (poem tale) is the generic term for narrative literature concerning waka poems.
Japanese: 歌物語（うたものがたり）とは、和歌にまつわる説話を集成した、物語文学の総称である。
English: Also, some are collections of episodes with various characters while others have specific leading figures.
Japanese: またさまざまな人のエピソードを集めたものと、一定の中心人物を持つものとがある。
English: There are a variety of themes of uta monogatari, but many of the tales are love stories inspired by waka poems or stories of mourning or lamenting about one's difficult life.
Japanese: 内容は多岐にわたるが、和歌にまつわる恋物語や、死別や不遇を嘆く物語などが多い。
English: There are chapters that describe the blessing of waka poems; for example, waka poems may resolve an incident or allow things to progress more smoothly.
Japanese: また和歌によって事件が解決したり、物事が円滑に進んだりする、歌の功徳を扱う章段も確認できる。
English: There are several theories on the birth of uta monogatari, but it seems to be related to the 'kotobagaki' (preface or captions) of waka poems, such as the preface to "Manyoshu" (the oldest anthology of Japanese poetry) and "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry).
Japanese: 歌物語の成立には諸説あるが、『万葉集』の「左注」や、『古今和歌集』などに見られるような、和歌の「詞書」に記された出来事との関係が指摘される。
English: For example, "Ise Monogatari" (The Tales of Ise) includes some waka poems that also appear in "Kokin Wakashu," and there are chapters that seem to be modifications of the kotobagaki of "Kokinshu" or stories made from adjacently aligned poems in the "Kokinshu."
Japanese: 例えば『伊勢物語』は『古今和歌集』と重複する和歌を含むが、『古今集』の詞書を改変したと考えられる章段や、『古今集』において隣同士に配列された和歌同士で一つの物語を作ったと考えられる章段が確認できる。
English: In these uta monogatari, the preface or caption became longer and longer.
Japanese: このような歌物語は、次第にその詞書にあたった部分が長大化していくことにつながった。
English: In addition, many uta monogatari influenced subsequent works such as "The Tale of Genji."
Japanese: また、その歌物語の作品そのものが、『源氏物語』など後の作品に影響を与えたものも多い。
English: Although the great length of "The Tale of Genji" puts it out of the scope of 'uta monogatari', the influence of "The Tales of Ise" is quite obvious; for example, the Tale of Genji uses many soji (phraseology) of waka including Hikiuta (analogy).
Japanese: 『源氏物語』は「歌物語」とは言えない長大な作品であるが、『伊勢物語』の影響を色濃く受けており、その表現にも引き歌のみならず、和歌の措辞を多く用いた作品である。
English: Western-influenced paintings were made prior to the Meiji Period before oil painting tools were imported into Japan, and artists could only mimic examples of Western paintings.
Japanese: 洋風画（ようふうが）は、明治時代以前、油彩画の道具が日本にまだ輸入されていなかった頃に、西洋画を見よう見真似で描いた絵。
English: Typical Western-influenced paintings include a series of 'Akita Ranga' (a school of Dutch painting originating in Akita Prefecture) led by Naotake ODANO and Yoshiatsu SATAKE.
Japanese: 代表的な洋風画としては、小田野直武・佐竹義敦を中心とする一連の「秋田蘭画」が挙げられる。
English: Inja Bungaku (literature of reclusion) is the generic term referring to a group of literature written by Buddhist priests and recluses who chose to retire from the secular world in medieval Japan.
Japanese: 隠者文学（いんじゃぶんがく）とは、主に日本の中世において、俗世間から隠遁する道を選んだ者達（僧侶や隠者など）によって書かれた作品群の総称である。
English: In the late Heian Period, the declining aristocracy and the rise of warriors and armed priests threw the nation into turmoil, and the people's anxiety nurtured the Mujokan (Buddhist concept of the impermanence of worldly things) and Mappo-shiso (belief in the "end of the world") propagated by Genshin and others.
Japanese: 平安時代も後期になり、貴族の政治が衰え武士の台頭、僧兵の出現などにより争乱の不安定な時代を迎えるにつれ、民衆の不安感から源信らによる無常観、末法思想が広まっていった。
English: This concept of impermanence led to disgust toward this world, and drove hermits to lead solitary lives even lonelier than entering into priesthood at Buddhist temples.
Japanese: 無常観には現世を厭う考えがあり、それが寺に帰属する出家よりも孤独な生活に隠者を駆りたてていった。
English: The "Manyoshu"(written as 万葉集 or 萬葉集) is the oldest extant collection of poems, compiled from the latter half of the seventh century to the latter half of the eighth century.
Japanese: 『万葉集』（まんようしゅう、萬葉集）とは、7世紀後半から8世紀後半頃にかけて編まれた、日本に現存する最古の歌集である。
English: It is thought that the Manyoshu was completed after 759, with more than 4,500 poems composed by people of different birth from emperors and nobles to lower ranked officials and Sakimori (soldiers garrisoned at strategic posts in Kyushu in ancient times), and so on.
Japanese: 天皇、貴族から下級官人、防人など様々な身分の人間が詠んだ歌を4500首以上も集めたもので、成立は759年（天平宝字3）以後と見られる。
English: The Manyoshu is unquestionably an outstanding source within Japanese literature, and as it contains poems written in dialects from the places the composers were from it is also a very important source within linguistics.
Japanese: 日本文学における第一級の資料である事は勿論だが、方言による歌もいくつか収録されており、さらにその中には詠み人の出身地も記録されていることから、言語学の資料としても非常に重要な資料である。
English: A view says that the book was named after an expression which means to collect 'Man no Koto no Ha' (literally, thousands of leaves of word), 'the collection of word leaves, namely poems.'
Japanese: ひとつは「万の言の葉」を集めたとする説で、「多くの言の葉＝歌を集めたもの」と解するものである。
English: Sengaku quoted the part shown as follows from the 'Kanajo' (Japanese preface) of "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry) in his commentary on the Manyoshu called "Manyoshu Chushaku."
Japanese: 仙覚の『万葉集註釈』では、『古今和歌集』の「仮名序」に、次の通り引いている。
English: But as "Kokin Wakashu" was completed after the "Manyoshu," the probability cannot be denied that the above interpretation was made after the completion of the "Manyoshu;" therefore, it is questionable to suppose the part the origin of the "Manyoshu."
Japanese: ただし、『古今集』の成立は『万葉集』よりも時代が下るので、この語釈が『万葉集』成立後にできあがったものという可能性も否定できず、そのまま『万葉集』の由来としてあてはめることには疑問もある。
English: There are other opinions such as that describing the book as 'a collection of poems to be handed down forever' (by Keichu and Masazumi KAMOCHI), and that yo (of Man-yo-shu, 葉) should be literally understood as a leaf and 'the leaves were likened to poems.'
Japanese: その他にも、「末永く伝えられるべき歌集」（契沖や鹿持雅澄）とする説、葉をそのまま木の葉と解して「木の葉をもって歌にたとえた」とする説などがある。
English: The most established opinion among scholars is based on the following part in the preface to the "Kojiki" (The Records of Ancient Matters), 'Nochino yo ni Tsutaen to hofu' (it is wanted to be told in the future), which is understood to mean 'a collection of poems that should be handed down forever', taking 'yo' (leaves, 葉) as 'yo' (generation, 世).
Japanese: 研究者の間で主流になっているのは、『古事記』の序文に「後葉（のちのよ）に流（つた）へむと欲ふ」とあるように、「葉」を「世」の意味にとり、「万世にまで末永く伝えられるべき歌集」と取る考え方である。
English: Because details about the completion of the "Manyoshu" are still unknown, there are various views as to who the editor was, including suggestions that it was a compilation made by imperial command, TACHIBANA no Moroe, or OTOMO no Yakamochi; at present, OTOMO no Yakamochi is considered the most probable editor.
Japanese: 『万葉集』の成立に関しては詳しくは判っておらず、勅撰説、橘諸兄説、大伴家持説など、古来種々の説があるが、現在では家持説が最有力である。
English: It is considered most likely that each volume had an individual editor and that OTOMO no Yakamochi finally compiled them into 20 volumes, instead of the "Manyoshu" being compiled in its entirety by one editor.
Japanese: ただ『万葉集』は一人の編者によってまとめられたのではなく、巻によって編者が異なるが、家持の手によって二十巻に最終的にまとめられたとするのが妥当とされている。
English: There is no record of the year of completion of the 20 volumes of the "Manyoshu" individually or as a complete work, but based on evidence in the book it is considered that the Manyoshu grew in the order shown below.
Japanese: 『万葉集』二十巻としてまとめられた年代や巻ごとの成立年代について明記されたものは一切ないが、内部徴証から、おおむね以下の順に増補されたと推定されている。
English: After Keichu advocated that the Manyoshu was initially completed in 16 volumes, and that volume 17 to 20 were added later to create a second version, there have been various opinions about the matter; there is a great deal of evidence to support the opinion that the Manyoshu was divided at volume 16, including that the table of contents goes up to volume 15 in old manuscripts like 'Genryaku Kohon' (revised version in Genryaku era) and 'Amagasaki-bon' (manuscript of Manyoshu found in Amagasaki), the citation of earlier sources, and the categorization by Budate.
Japanese: 契沖が万葉集は巻1～16で一度完成し、その後巻17～20が増補されたという万葉集二度撰説を唱えて以来、この問題に関しては数多くの議論がなされてきたが、巻15までしか目録が存在しない古写本（「元暦校本」「尼崎本」等）の存在や先行資料の引用の仕方、部立による分類の有無など、万葉集が巻16を境に分かれるという考え方を支持する証拠は多い。
English: This is because the assassination of FUJIWARA no Tanetsugu by OTOMO no Tsuguhito occurred in 785, immediately after the death of Yakamochi, and Yakamochi was implicated in the assassination.
Japanese: 延暦4年（785年）、家持の死後すぐに大伴継人らによる藤原種継暗殺事件があり、家持も連座したためである。
English: In that sense, the editing of the "Manyoshu" collection of poems was finally completed in 806 when Yakamochi was pardoned by a decree of amnesty.
Japanese: その意味では、『万葉集』という歌集の編纂事業は、恩赦により家持の罪が許された延暦25年（806年）にようやく完成したといってよい。
English: It is thought that the 20 volumes of the Manyoshu were not edited as one unit, but rather smaller sets of volumes were edited consistently but separately, the sets being drawn together to form the whole.
Japanese: 全二十巻であるが、首尾一貫した編集ではなく、何巻かずつ編集されてあったものを寄せ集めて一つの歌集にしたと考えられている。
English: The collection consists of more than 4,500 poems, but the exact number of poems differs according to the counting method based on respective handwritten copies.
Japanese: 歌の数は四千五百余首から成るが、写本の異伝の本に基づく数え方があり、歌数も種々様々の説がある。
English: The poems are classified into the three major categories of Zoka, Somonka, and Banka, according to their contents.
Japanese: 内容上から雑歌（ぞうか）・相聞歌（そうもん）・挽歌（ばんか）の三大部類になっている。
English: Zoka: Meaning 'miscellaneous poems,' contains all the poems which are not classified as Somonka and Banka.
Japanese: 雑歌　「くさぐさのうた」の意で、相聞歌・挽歌以外の歌が収められている。
English: Specifically, they include the poems about public court life, poems composed during travel, and poems describing the beauty of nature and seasonal changes.
Japanese: 公の性質を持った宮廷関係の歌、旅で詠んだ歌、自然や四季をめでた歌などである。
English: Somonka: As 'Somon' means people keeping in touch with each other by exchanging words, this category mainly contains poems used for exchanging feelings of love between men and women.
Japanese: 相聞歌　「相聞」は、消息を通じて問い交わすことで、主として男女の恋を詠みあう歌である。
English: This volume contains Zoka from the 4 provinces of Kazusa, Shimosa, Hitachi, and Shinano, Somon-oraika (exchanged Somonka) from 12 provinces of Totomi, Suruga, Izu, Sagami, Musashi, Kazusa, Shimosa, Hitachi, Shinano, Kozuke, Shimotsuke, and Mutsu, Hiyuka from the 5 provinces of Totomi, Suruga, Sagami, Kozuke, and Mutsu, and Zoka, Somon-oraika, Sakimoriuta (Sakimori Guard's poetries), Hiyuka, Banka, Gishoka (ancient comic [satirical] tanka) and the like from unspecified provinces.
Japanese: この卷には、上総・下総・常陸・信濃四国の雑歌、遠江・駿河・伊豆・相模・武蔵・上総・下総・常陸・信濃・上野・下野・陸奥十二国の相聞往来歌、遠江・駿河・相模・上野・陸奥五国の譬喩歌・国の分からないものの雑歌、相聞往来歌・防人歌・譬喩歌・挽歌・戯咲歌などが収められている。
English: Choka generally consist of more than 10 to more than 20 lines with alternatively five and seven syllables and a couplet of seven syllables at the end.
Japanese: 長歌は、十数句から二十数句までのものが普通であり、五七を長く続け、最後をとくに五七七という形式で結ぶもの。
English: Sedoka consist of two katauta, which in turn consist of a set of tanka and choka with one more choka added.
Japanese: 旋頭歌は、短長の一回の組み合わせに長一句を添えた形を片歌といい、この片歌の形式を二回繰り返した形である。
English: The first period is from the enthronement of Emperor Jomei in 629 to the Jinshin War in 672, with a lot of poems closely related to Imperial ceremonies and events.
Japanese: 第1期は、舒明天皇即位（629年）から壬申の乱（672年）までで、皇室の行事や出来事に密着した歌が多い。
English: This period contains poems composed by Emperor Jomei, Emperor Tenji, Prince Arima, Kagami no Okimi, and FUJIWARA no Kamatari.
Japanese: ほかに舒明天皇・天智天皇・有間皇子・鏡王女（かがみのおおきみ）・藤原鎌足らの歌もある。
English: The second period is to the transfer of the capital in 710, and contains both famous poems in praise of the Imperial Court composed for ceremonial occasions by court officials like KAKINOMOTO no Hitomaro, TAKECHI no Kurohito, and NAGA no Okimaro, and poems composed during travel.
Japanese: 第2期は、遷都（710年）までで、代表歌人は、柿本人麻呂・高市黒人（たけちのくろひと）・長意貴麻呂（ながのおきまろ）などの官人達の儀礼的な場での宮廷賛歌や旅の歌などが有名である。
English: The third period is to 733, and contains a lot of original poems.
Japanese: 第3期は、733年（天平5）までで、個性的な歌が生み出された時期である。
English: There are several poets representative of this period, such as YAMABE no Akahito who wrote descriptive poetry depicting scenery and landscape, OTOMO no Tabito who wrote choka full of elegance and lyricism, YAMANOUE no Okura who wrote poems sympathetic to those facing hard times and the lower strata of society, TAKAHASHI no Mushimaro who wrote poems to show the true nature of various legends, and OTOMO no SAKANOUE no Iratsume who composed poems with the pathos of a woman.
Japanese: 代表的歌人は、自然の風景を描き出すような叙景歌に優れた山部赤人（やまべのあかひと）、風流で叙情にあふれる長歌を詠んだ大伴旅人、人生の苦悩と下層階級への暖かいまなざしをそそいだ山上憶良（やまのうえのおくら）、伝説のなかに本来の姿を見出す高橋虫麻呂（むしまろ）、女性の哀感を歌にした大伴坂上郎女（さかのうえのいらつめ）などである。
English: The fourth period is to 759 and OTOMO no Yakamochi, a son of Tabito, KASA no Iratsume, OTOMO no SAKANOUE no Iratsume, TACHIBANA no Moroe, NAKATOMI no Yakamori, SANO no Otogami no Otome, and Yuhara no Okimi are representative of this time.
Japanese: 第4期は、759年（天平宝字3）までで、代表歌人は旅人の子で大伴家持・笠郎女（かさのいらつめ）・大伴坂上郎女（おおとものさかのうえのいらつめ）・橘諸兄（たちばなのもろえ）・中臣宅守（なかとみのやかもり）・狭野弟上娘子（さののおとがみのおとめ）・湯原王などである。
English: The poets range from the Imperial Family and nobles to middle ranked and lower ranked court officials, and the anonymous poems are considered to have been written by lower ranked court officials and commoners in the Kinai (Kyoto, Osaka, and Nara) area, and it is apparent from the volumes entitled Azumauta and Sakimori no uta that an increasing number of commoners began to wrote poems.
Japanese: 歌の作者層を見てみると、皇族や貴族から中・下級官人などに波及していき、作者不明の歌は畿内の下級官人や庶民の歌と見られ、また東歌や防人歌などに見られるように庶民にまで広がっていったことが分かる。
English: The composition of poetry spread from the neighborhood of the Imperial Palace to Kyoto, to Kinai, and to Togoku (the eastern provinces) as years went by.
Japanese: さらに、地域的には、宮廷周辺から京や畿内、東国というふうに範囲が時代と共に拡大されていったと考えられる。
English: The Manyoshu is extremely valuable in that it contains many poems written by commoners in the 'Sakimori no Uta' (Sakimori's poems) and 'Azumauta' for example.
Japanese: 「防人の歌」（さきもりのうた）「東歌」（あずまうた）など、貴族以外の民衆の歌が載っている極めて貴重な資料でもある。
English: The poems are written in various styles such as those written ideographically in Chinese characters, some phonetically with Chinese characters, others both phonetically and ideographically in Chinese characters, and those written without using letters.
Japanese: 歌は、表意的に漢字で表したもの、表音的に漢字で表したもの、表意と表音とを併せたもの、文字を使っていないものなどがあり多種多様である。
English: As the Japanese syllabary had not been established at the time the Manyoshu was written, it was written in a unique writing system called manyo-gana.
Japanese: 編纂された頃にはまだ仮名文字は作られていなかったので、万葉仮名とよばれる独特の表記法を用いた。
English: Specifically, the manyo-gana writing system was for expressing the Japanese language through using only the Chinese pronunciations of the characters, with the result that the sounds had nothing to do with the meanings of the characters.
Japanese: つまり、漢字の意味とは関係なく、漢字の音訓だけを借用して日本語を表記しようとしたのである。
English: In that sense, manyo-gana was the first writing system for Japanese even though it used Chinese characters.
Japanese: その意味では、万葉仮名は、漢字を用いながらも、日本人による日本人のための最初の文字であったと言えよう。
English: Written in manyo-gana: 都流藝多知 伊与餘刀具倍之 伊尓之敝由 佐夜氣久於比弖 伎尓之曾乃名曾
Japanese: （万葉仮名文）都流藝多知　伊与餘刀具倍之　伊尓之敝由　佐夜氣久於比弖　伎尓之曾乃名曾
English: Japanese reading of the poem shown above: Tsurugi-tachi Iyoyo Togubeshi Inishieyu Sayakeku oite Kinishi sono na so (Sharpen the great sword ever shaper; This name borne untarnished from of old) (Volume 20 - 4467)
Japanese: （訓）剣大刀　いよよ研ぐべし　古ゆ　清（さや）けく負ひて　来にしその名そ（卷20-4467）
English: Japanese reading of the poem shown above: Iza Kodomo Hayaku Nihon e Otomo no Mitsu no hama matsu Machi koinuran (Come my lads, let us swiftly to our land! For the pine trees of Otomo's noble harbor must eagerly await our return) (Volume 1 - 63)
Japanese: （訓）いざ子ども　早く日本へ　大伴の　御津（みつ）の浜松　待ち恋ひぬらむ（卷1-63）
English: At the end of the Nara period manyo-gana was developed through slight transformations of the characters, with characters with fewer strokes being increasingly used, and during the Heian period they were further developed into characters with extremely simplified figures (known as soryaku) or characters with some strokes partly omitted (known as shokaku) which could be written faster and more efficiently.
Japanese: 万葉仮名は、奈良時代の終末には、字形を少し崩して、画数も少ない文字が多用されるようになり、平安時代に至るとますますその傾向が強まり、少しでも速く、また効率よく文字が書けるようにと、字形を極端に簡略化（草略）したり字画を省略（省画）したりするようになった。
English: Manyo-gana is still used at various times at present, for example most place names which are difficult to read were derived from manyo-gana.
Japanese: 現在でも万葉仮名は至る所で使用されており、難読地名などの多くは万葉仮名に由来するものが多い。
English: In the "Manyoshu" some of the dialects of the time are indicated such as 'Ayunokaze Etsu no Kuniburi no kotoba, Higashikaze wo Ayunokaze to iu' (In the Etsu dialect, the word 'higashikaze' [an east wind] is 'ayunokaze,' 東風 越俗語、東風謂之安由乃可是也) (volume 17, 4017), but a great many other dialects are recorded even though they are not indicated as such.
Japanese: 『万葉集』には「東風越俗語、東風謂之安由乃可是也」（巻17・4017番）のように、当時の方言についてそれと明示した記述があるが、いちいち方言と銘打ってはいなくても、実は大量の方言が記録されている。
English: Specific examples of this can be found in volume 14 (Azumauta) and volume 20 (Sakimoriuta).
Japanese: 即ち、巻14の東歌（あずまうた）と巻20の防人歌（さきもりうた）である。
English: Azumauta, meaning poems from the Togoku region, covers poems handed down in Togoku, which covers the present Kanto region, Tohoku region, and Tokai region, divided into two groups for poems with their place of origin known called kankokuka (90 and 5 poems) and for poems where their place of origin was unknown called mikankokuka (140 and 3 poems).
Japanese: 東歌は東国地方の歌の意で、東国（今の関東・東北地方から東海地方まで含まれる）に伝わる歌を収集し、どの国の歌か判明している歌（勘国歌。90首+5首）と不明の歌（未勘国歌。140首+3首）に二分して収録している。
English: As the dialects of the Togoku region of the period are frequently used in most of the poems the 'Azumauta' has an important position as a specific record of these ancient dialects, even though the year the poems were composed, the profile of the composers, and how they were recorded remain unknown.
Japanese: 多くの歌で上代の東国方言が多用されており、歌の成立年代や作者の出自、記録の経緯が一切不明という問題点はあるにしても、古代の方言の具体的な記録として重要な位置を占める。
English: A small number of sakimoriuta, poems composed by coast guards conscripted from Togoku, can be found in volumes 13 and 14 but the majority (84 poems in total) appear in volume 20 under the title of 'In August, 749, the poems of Sakimori and others dispatched in turns to the provinces in Chikushi' (天平勝宝七歳乙未二月、相替遣筑紫諸国防人等歌).
Japanese: 防人歌は東国から徴集された防人の詠んだ歌の意で、巻13や巻14にも少量見えるが、最も著名なのは巻20に「天平勝宝七歳乙未二月、相替遣筑紫諸国防人等歌」として84首収録されているものである。
English: Regarding these poems, captains of the Sakimori who were conscripted in 755 from each province were commanded to record and submit the poems composed by the Sakimori guards; among the originally collected poems, 82, or almost half of them, were not included as they were felt to be not skillful enough, and the selected poems were registered with the composers' names, and the provinces they came from (the counties they came from in some cases were also included).
Japanese: これは天平勝宝7歳（755年）に徴集された防人の詠んだ歌を、防人を率いてきた各国の部領使（ことりづかい）に命じて記録、上進させたもので、拙劣歌として半数近く（82首）が棄てられてはいるものの、採用された歌については作者の名前から出身国（国によっては郡名まで）まで逐一記されている。
English: Also, as the content of the poems was expressed in Manyo-gana when the poems were transcribed to the Manyoshu, Sakimoriuta is evaluated much higher than Azumauta as a valuable resource in relation to the dialects of the Togoku region.
Japanese: しかも、万葉集に採録するにあたって、内容はもちろん万葉仮名表記に至るまで上進時のままで改変されていない可能性が高く、東国方言資料としての価値は東歌を凌駕するものと評価されている。
English: Hiru tokeba tokenahe himono wagasenani aiyorutokamo yorutokeyasuke(昼解けば 解けなへ紐の 我が背(せ)なに 相寄るとかも 夜解けやすけ) (Volume 14, 3483)
Japanese: 昼解けば解けなへ紐の我が背（せ）なに相寄るとかも夜解けやすけ（巻14・3483番）
English: (I could not untie the cord in the daytime, but perhaps because I will meet my husband, in the evening it will be easier to untie.)
Japanese: （昼間解くと解けない紐が、夫に会うからというのか、夜は解けやすいことだ。）
English: Kusamakura tabino maruneno himotaeba agatetotsukero korenoharumoshi(草枕 旅の丸寝の 紐絶えば 我(あ)が手と付けろ これの針(はる)持(も)し) (Volume 20, 4420)
Japanese: 草枕旅の丸寝の紐絶えば我（あ）が手と付けろこれの針（はる）持（も）し（巻20・4420番）
English: (If you sleep in your clothes when on a journey and the cord of your garment becomes broken, sew it back on the garment yourself with this needle.)
Japanese: （旅の丸寝をして紐が切れたら、自分の手でお付けなさいよ、この針でもって。）
English: As can be seen from the above poems, quite a few of the dialects of the Togoku region recorded in the "Manyoshu" have correlations with the modern dialects found in eastern Japan.
Japanese: 上記の歌を見てもわかるように、『万葉集』に記録された東国方言には、現代の東日本方言と相通じるものが少なくない。
English: Taking a couple of examples, the negative auxiliary verbs '-nafu' and the sentence-ending particle '-ro' that follows the imperative base form can be associated with '-nai' and '-ro' in the modern dialects of eastern Japan.
Japanese: 中でも否定の助動詞「～なふ」や命令の終止法に付く終助詞「～ろ」は、現代東日本方言の「～ない」「～ろ」に連なる可能性が指摘されている。
English: The quadrigraded conjugation verbs and the attributive form of adjectives of the dialects in the Togoku region such as 'Ta to tsuku' ('Tatsu to tsuki' [the new moon comes]) and 'Kanashike imo' ('Itoshii Imoto' [my sweet younger sister]) take unique forms different from the standard Japanese; on the other hand, it is known that the Hachijo dialect spoken in Hachijo-jima island such as 'Kakotoki' ('Kakutoki' [when man writes]) and 'Takake yama' ('Takaki Yama' [a high mountain]) takes the same form as that of the ancient dialects of the Togoku region.
Japanese: また、東国方言の四段動詞と形容詞の連体形は、「立と月」「愛（かな）しけ妹（いも）」のように中央語とは異なる独特の語形を取るが、八丈島で話される八丈方言は「書こ時」「高け山」のように、上代東国方言と同様の語形を取ることで知られている。
English: Among the large number of dialects in the Japanese language, only the Hachijo dialect takes this kind of form.
Japanese: 日本語に方言は数あれど、このような活用を残すのは八丈方言だけである。
English: The 20 volumes of the "Manyoshu" begin with a poem by Emperor Yuryaku, one of the five kings of Wa, or ancient Japan.
Japanese: 『万葉集』は全巻で20巻であるが、その巻頭の歌が、倭の五王の一人、雄略天皇の歌で始まっている。
English: This means that people during the Nara period regarded Emperor Yuryaku as a special Emperor.
Japanese: 奈良時代の人々においても雄略天皇が特別な天皇として意識されていたことを示す。