nntsuzu/KFTT huggingface dataset:
English: Therefore, like Mitsuzaki Kengyo, he also employed a consistent composition, a simple technique, and a noble and classic atmosphere of kumiuta, which was a form of sokyoku in the early Edo period, and an extreme opposite of jiuta music developed into complication at the time.
Japanese: そのため光崎検校同様、複雑煩瑣に発達した当時の地歌音楽とは対極ともいえる、江戸前期の箏曲の形式である組歌の整合的構成、シンプルな技巧、気品高く雅びな雰囲気などを取り入れた。
English: Further pursuing the classic, Yoshizawa Kengyo may have found an ideal of musical aesthetic in the traditional Japanese music that was a far ancestor of sokyoku.
Japanese: 更に古雅さを追求した吉沢検校は、箏曲の遠い先祖である雅楽に一つの音楽美の理想を見いだしたのだろう。
English: He studied basic theories of the traditional Japanese music and tuning techniques of gakuso (koto for traditional Japanese music) under Shuraku HAZUKA, a gagakuka (musician of old Japanese court music) (another opinion says it was not Shuraku).
Japanese: 雅楽家羽塚秋楽に師事し（別人との説もあり）、雅楽の基本的な理論や楽箏（雅楽の箏）の調弦法を学んだ。
English: At first, Hazuka who looked down on lower-ranked Yoshizawa did not want to teach him, but he felt for Yoshizawa's enthusiasm and eventually determined to teach.
Japanese: 羽塚は最初、身分の違う吉沢を見下して教えることを渋っていたが、その熱心さに感じて教授したという。
English: Combining the tuning techniques of the traditional Japanese music thus learned and his own tuning techniques of modern koto music, Yoshizawa came up with 'kokinchoshi' scale that is a combination of both systems of ritsu scale (anhemitonic pentatonic scale) in the traditional Japanese music and miyako-bushi scale (characteristic Japanese hemitonic pentatonic scale: mi, fa, la, ti, do) in the modern Japanese music.
Japanese: こうして吉沢は学んだ雅楽の調弦と、自分たちのものである近世箏曲の調弦を合わせ、雅楽の律音階と近世邦楽の都節音階の両システムを折衷した「古今調子」を編み出した。
English: It resembles the tuning technique of 'banshikicho' (banshiki is a high note substantially corresponding to H in the Western music) for gakuso.
Japanese: これは楽箏の「盤渉（ばんしき）調盤渉は西洋音楽のHにほぼ相当する音高」の調弦法に似ている。
English: In this manner, melodies and techniques of the traditional Japanese music were employed to complete "Chidori no Kyoku."
Japanese: これにより、雅楽の旋律や技法も取り入れて完成されたのが『千鳥の曲』である。
English: Composed later over waka poems taken from Kokin Wakashu based on the kokinchoshi scale are 'The Spring Music,' 'The Summer Music,' 'The Autumn Music' and 'The Winter Music.'
Japanese: この後、同じく古今調子により、古今和歌集から採った和歌に作曲した曲が「春の曲」「夏の曲」「秋の曲」「冬の曲」である。
English: Although they are different from "Chidori no Kyoku" for not including an instrumental intermezzo, the five music pieces are collectively referred to as 'Kokin-gumi.'
Japanese: これらは、手事がない点が『千鳥の曲』とは違うが、五曲を総称して「古今組」と呼ぶ。
English: Especially "Chidori no Kyoku" diffused as a koto music not only in the Nagoya line but also into various groups in Ikuta school, and even into Yamada school to be played in almost all schools in Meiji period and later.
Japanese: 特に『千鳥の曲』は明治以降、箏曲としては名古屋系のみならず広く生田流各派、さらには山田流にも普及し、ほとんどの流派で演奏される曲となった。
English: There are 'shamisen kumiura' and 'koto kumiuta,' each being the oldest music style and the honkyoku (traditional Japanese music) in jiuta and koto music.
Japanese: 「三味線組歌」と「箏組歌」があり、それぞれ地歌、箏曲においてもっとも古い楽曲形式であるとともに、それぞれの本曲でもある。
English: Contents are different between koto and shamisen, and koto kumiuta includes six sections basically consisting of 128 beats.
Japanese: 内容は箏と三味線では異なり、箏組歌は基本的に128拍から成る段（歌）を六つ組み合わせたもの。
English: While being noble music with graceful words, kumiuta gradually fell into mannerism, and was not composed anymore in the middle of Edo period.
Japanese: 高雅な歌詞を持つ気品高い音楽だが、次第に型にはまり過ぎ、江戸時代中期には作られなくなった。
English: Although miyako-bushi scale was later introduced into some instruments for the traditional Japanese music, gakuso still uses ritsu scale in its tuning.
Japanese: なお雅楽はその後楽器によっては一部都節音階化しているが、楽箏はその調弦によく律音階が残っている。
English: Among popular songs, "Sakura Sakura" and "Oedo Nihonbashi" are based on this scale.
Japanese: 身近な歌では『さくらさくら』『お江戸日本橋』などもこの音階でできている。
English: It is said that shamisen and koto had not been played for ensemble even by the same player until he started it.
Japanese: それまで三味線と箏は演奏者が同じでも合奏させることはなかったが、彼に至って地歌に箏を合奏することを始めたと言われる。
English: While separating into many groups, the school spread from Nagoya to Kyushu in Edo period, and even to eastern Japan and northern Japan after the Meiji Restoration.
Japanese: 以後いくつもの派に分かれつつ江戸時代には名古屋から九州まで広がり、明治維新後は東日本、北日本にも普及した。
English: It employs a style of jiuta 'tegotomono' consisting of introduction - maeuta (first vocal section) - tegoto (instrumental intermezzo) - atouta (second vocal section).
Japanese: 前弾き（前奏）-前唄-手事-後唄の、地歌「手事もの」の形式をとっている。
English: The words in the first vocal section is a waka poem 'Shiho no yama sashide no iso ni sumu chidori, kimiga miyo oba yachiyo tozo naku' (しほの山さしでの磯にすむ千鳥 君が御代をば八千代とぞ鳴く) taken from Ga no bu (the Ga [celebration] section) of "Kokin Wakashu."
Japanese: 前唄は『古今和歌集』賀の部より採った和歌「しほの山さしでの磯にすむ千鳥君が御代をば八千代とぞ鳴く」が歌詞として節付けされている。
English: Kimiga miyo oba yachiyo tozo naku...' is repeated, the beginning of the introduction appears, and tegoto starts after a while.
Japanese: 「君が御代をば…」がもう一度反復され、前弾きの冒頭部分が現れて一段落すると手事に移る。
English: Tegoto being an instrumental part is divided into two, where the former half starts slowly and then gradually becomes faster.
Japanese: 器楽部分である手事は二つの部分に分かれ、前半は最初ゆったりしており、そのあと次第に早くなる。
English: It is referred to as 'jo' (prelude) or 'naminobu' (wave section), in which koto expresses waves coming and drawing, and kokyu expresses the sound of the wind through pines with chords.
Japanese: 「序」とか「波の部」と呼ばれ、箏で波が寄せ返す様、胡弓が和音で松風の音を描写している。
English: The latter half is also referred to as 'chidori no bu' (chidori section), in which both koto and kyokyu start an indication of a chirp of a chidori, gradually pick up the tempo, and show a pure musical progress to the climax departing from a depiction of a scene.
Japanese: 後半は「千鳥の部」と呼ばれることもあり、まず箏、胡弓共に千鳥の鳴き声の暗示で始まり、次第にテンポを速くし、描写から離れて純音楽的展開を見せ、盛り上がる。
English: It is the climax of the song, where koto and kokyu show an excellent chase.
Japanese: このあたりは曲全体の山場で、箏と胡弓のからみ合い、掛け合いが素晴らしい。
English: The tempo eventually slows down, koto plays 'suri-tsume' playing technique indicative of the wind to give a pause, and the second vocal part starts.
Japanese: やがてゆっくりになり、箏が風を暗示する手法「摺り爪」を奏して一段落し、後唄に続く。
English: Suri-tsume is believed to be employed to imply a storm in Suma no maki of the Tale of Genji in association with 'Suma' to be sung in the second vocal part, thereby creating an atmosphere.
Japanese: 摺り爪は後唄に出てくる「須磨」に関連して、源氏物語須磨の巻の嵐を前もって暗示し、雰囲気作りをするためのものと思われる。
English: The words in the second vocal section is a waka poem 'Awaji shima, kayou chidori no naku koe ni, ikuyo nesamenu suma no sekimori' (淡路島 通ふ千鳥の鳴く声に 幾夜寝覚めぬ須磨の関守) by MINAMOTO no Kanemasa included in Kinyo wakashu.
Japanese: 後唄は金葉和歌集に載せられた源兼昌の和歌「淡路島通ふ千鳥の鳴く声に幾夜寝覚めぬ須磨の関守」に節付けしたものである。
English: First, a unique melody that is not seen other jiuta koto music in the past is sung to 'Awaji shima, kayou chidori no...' in a modulated high range.
Japanese: まず「淡路島通う千鳥の」で、これまでの地歌箏曲にはない独特な旋律が、転調して高い音域で歌われる。
English: It is believe to have resembled roei recitation, one way of vocal music in the field of the traditional Japanese music.
Japanese: これは雅楽の中の声楽の一つである朗詠を模したものであると言われている。
English: In the section of 'naku koe ni,' the song gradually returns to a song based on the koto music leading to a short but beautiful intermezzo of a delicate tremolo played by kokyu.
Japanese: 「鳴く声に」で次第に箏曲的な歌に戻り、胡弓が繊細なトレモロを奏する、短いが美しい間奏となる。
English: Gradually picking up the tempo in the section of 'ikuyo nesamenu suma no sekimori,' the final climax is played at an intermezzo, 'ikuyo nesamenu' appears again on a melody different from the first time, and then the sound gradually becomes in 'suma no sekimori.'
Japanese: 「幾夜寝覚めぬ須磨の関守」で次第に早くなり、間奏部で最後の盛り上がりを見せ、もう一度「幾夜寝覚めぬ」が一回目とは違う旋律で現れ、「須磨の関守」でしだいに静かになる。
English: When the song is over, a short instrumental phrase full of loneliness and stillness is played to the termination with an allusive feeling.
Japanese: 歌が終わったあと楽器だけの寂寥感あふれる部分が少しあり、余情を残しつつ終曲となる。
English: As the music in the period for separating koto in the end of Edo period, while "Akikaze no kyoku" by his senior, Mitsuzaki Kengyo, is exotic and romantic and "Godanginuda" by the same is modern and complicated, Yoshizawa's "Chidori no Kyoku" may be traditional and simple.
Japanese: 幕末の箏独立期の曲として、先輩光崎検校の作品『秋風の曲』は異国的、ロマンティックであり、同じく『五段砧』はモダン、複雑であるのに対し、吉沢の『千鳥の曲』は古雅、シンプルであるといえる。
English: Among Yoshizawa Kengyo's works, Chidori no Kyoku is positioned in a period of transiting glamorous works like 'Kyoto-style tegotomono music' (jiuta songs of tegotomono composed by blind musicians in Kyoto from the beginning to the end of the 19th century) to 'Kokin-gumi' and 'Shinkokin-gumi' of the simple and traditional aesthetic.
Japanese: また、千鳥の曲は吉沢検校の作品群の中において、華やかな「京流手事もの（19世紀初頭から後半にかけて京都の盲人音楽家たちによって作曲された手事ものの地歌曲群）」的作品から、簡潔、古雅な美の「古今組」「新古今組」に至る過渡期に位置する曲である。
English: That is, it still takes a form of 'tegotomono' as a style, and the composition changed.
Japanese: つまり、いまだ形式として「手事もの」の形をとっており、構成に変化がある。
English: It was composed by a composition technique impressively describing nature and has a certain gorgeousness.
Japanese: 自然描写が印象的な作曲法によってなされ、それなりに華やかさも持っている。
English: Words are waka poems as they are taken from Kokinshu, and the music also shows revivalistic intentions to kumiuta and the traditional Japanese music.
Japanese: 歌詞は古今集などの和歌そのものであり、音楽的にも組歌や雅楽などへの復古的志向が至る所に見られる。
English: The composition technique that directly covers the traditional Japanese music may have been the first one in the line of Ikuta school.
Japanese: 直接的に雅楽を取り入れた作曲法は、生田流系としては初めてのことと思われる。
English: An ensemble of kokyu and koto alone without shamisen had seldom been seen in the past.
Japanese: 三味線が入らず、胡弓と箏のみの合奏は、これまであまり見られなかった方向である。
English: The originalities and the revivalistic intentions are mixed in many ways as described above, the song has many interesting points.
Japanese: このように斬新さと復古志向が様々に混合され、聴きどころのきわめて多い曲といえる。
English: In a perspective view of the history of koto music, "Chidori no Kyoku" must have been one of big turning points to new koto music.
Japanese: また箏曲史全体を見回してみても、『千鳥の曲』はこれ以降の箏曲への大きな転換点のひとつとなったと思われる。
English: However, it should be noted that the historical background of the composition followed by the revolutionary period of the Meiji Restoration is also important.
Japanese: もっとも時代背景として作曲後間もなく明治維新という変革期を迎えたことも重要であり、忘れてはならない。
English: The songs, "Meiji Shochikubai" by Kikuzuka Kengyo, "Kaede no Hana" by Shunei MATSUZAKA, "Hototogisu no Kyoku" by Noboru TATEYAMA, and "Aki no Kotonoha" by Tokumoichi NISHIYAMA, are popular.
Japanese: 菊塚検校の『明治松竹梅』、松坂春栄の『楓の花』、楯山登の『時鳥（ほととぎす）の曲』、西山徳茂都の『秋の言の葉』などの曲が有名。
English: Most of these songs have many common points with "Chidori no Kyoku" other than the poetical imagination (in addition, frequent use of duet in high and low tones is similar to "Godanginuta") as follows:
Japanese: だが、それらの多くは、以下のように詩情といった点はともかく、『千鳥の曲』と共通点が多い（その他高低二重奏が多い点は『五段砧』に類似）。
English: In that context, we can generally say that most of koto music pieces composed since Meiji period to the emergence of Michio MIYAGI are on the line of "Chidori no Kyoku."
Japanese: その意味において、一般的に明治以降宮城道雄に至るまでの間に作られた箏曲は、多くが『千鳥の曲』の延長線上に存在すると言ってよい。
English: Furthermore, Michio MIYAGI also composed not a few works with elements of "Chidori no Kyoku" while making a new departure.
Japanese: それだけではなく宮城道雄にも、新機軸を打ち出しつつ『千鳥の曲』の要素を残す傾向の作品は少なくない。
English: The description of nature in tegoto of Chidori no Kyoku is freer and rather impressive than abstract ones in older ages.
Japanese: また、千鳥の曲の手事における自然描写は、古い時代の抽象的なものよりも自由で、どちらかといえば印象的な作りである。
English: There is a part of kokyu resembling chords of sho that is an instrument for the traditional Japanese music and describing the winds through pines with a technique of kokyu, which got to be used often in later times to show an atmosphere of the traditional Japanese music.
Japanese: また胡弓の技法として、雅楽器である笙の和音を模し、また松風を描写している部分があるが、この手法は後世も雅楽の雰囲気を出すためしばしば使われるようになった。
English: Contrary to "Chidori no Kyoku" still retaining the form of tegotomono, other pieces of Kokin-gumi composed later are more simplified and includes no tegoto to be more like kumiuta.
Japanese: まだ手事ものの形式を保持している『千鳥の曲』に対して、それよりも後に作られた古今組各曲はより簡潔化し、手事もなく、ますます組歌に近いものとなっている。
English: Although simple and beautiful, they were not gorgeous enough at the time, and were not popular until Shunei MATSUZAKA in Kyoto complemented gorgeous tegoto in Meiji period.
Japanese: 簡潔で美しいが当時の音楽としては華やかさに足りず、明治に京都の松坂春栄が華麗な手事を補作するまでは普及しなかった。
English: In that context, too, "Chidori no Kyoku" may have especially served as the turning point in the history of koto music.
Japanese: その意味でも特に『千鳥の曲』が箏曲史上の転換点になっていると思われる。
English: For this or another reason, Shinkokin-gumi is seldom played by musicians out of the direct line of Yoshizawa, but there was Kyogoku school of koto music that followed this style.
Japanese: そのためか一般受けせず、新古今組は吉沢の直系以外ではほとんど演奏されないが、このスタイルを踏襲した京極流箏曲も存在した。
English: In Meiji period and later, shakuhachi was fully included in sankyoku music, and "Chidori no Khyoku" was also arranged by each school of shakuhachi for an ensemble, in which context it can be a song for shakuhachi.
Japanese: 明治以降、尺八が三曲へ本格的に参入し、『千鳥の曲』も尺八各流派で合奏用に手付けされ、その意味では尺八曲であるとも言える。
English: As shakuhachi grew popular until the present days, an ensemble of shakuhachi and koto is now played more commonly than an original ensemble of kokyu and koto.
Japanese: 現代までの尺八の普及に伴い、こんにちでは本来の胡弓-箏合奏よりも尺八-箏合奏の方がはるかに普通に行なわれる。
English: However, the tune of shakuhachi is rather similar to that of koto to be played rather in unison and totally different from the original tune of kokyu, which may not be different from the sound intended by the composer.
Japanese: ただし、その旋律は各派いずれも比較的箏の旋律に沿ったユニゾン（同音）に近いものであり、原曲の胡弓の旋律とはまったく違っているので、作曲者が目指した本来の姿とは必ずしも言えない。
English: Some schools play the kokyu part added later and different from the original one composed by Yoshizawa Kengyo.
Japanese: 胡弓パートは流派によって、吉沢検校作の本来の胡弓パートではない、後世に付けられた別のものを演奏することもある。
English: This was also added resembling the tune of koto to sound like a unison, which is hardly called kokyu honkyoku (traditional Japanese music for kokyu).
Japanese: これも尺八パートと同じく箏の旋律に沿って付けられたもので、ユニゾンに近く、胡弓本曲とは言えない。
English: Utashito NAKASHIMA (1896 - 1979, a koto musician and founder of Seiha Hogaku Kai) later composed "Yomo no Umi" (the sea all around) which can be played ensemble with Chidori no Kyoku.
Japanese: のちに、中島雅楽之都（なかしまうたしと（1896年-1979年）箏曲家・正派邦楽会の創始者）が、千鳥の曲に合奏できる箏曲『四方（よも）の海』を作曲している。
English: Some composers also arranged Chidori no Kyoku for an ensemble with Japanese instruments or Western instruments.
Japanese: また、何人かの作曲家により、和楽器の合奏用や洋楽器との合奏用に編曲されてもいる。
English: The utamakura (a place famed in classical Japanese poetry) 'Shiho no yama' sung in the first vocal part is located in Koshu City (former Enzan City), Yamanashi Prefecture, and 'Sashide no iso' is located in Yamanashi City, Yamanashi Prefecture.
Japanese: 前唄で詠われている歌枕「しほ（塩）の山」は山梨県甲州市（旧塩山市）、「さしで（差手）の磯」は同県山梨市にある。
English: Kimiga miyo oba yachiyo tozo naku'" in the first vocal section is a double meaning of 'chiyo' which means eternity and the sound made by a chidori (plover).
Japanese: 前唄の「君が御代をば八千代とぞ鳴く」というのは、千鳥の鳴き声がチヨチヨと聴こえるので、「千代」にかけたもの。
English: A waka poem of 'Awaji-shima kayou chidori no naku koe ni' is also included in Ogura Hyakunin Isshu (the Ogura Anthology of One Hundred Tanka-poems by One Hundred Poets).
Japanese: 「淡路島通ふ千鳥の鳴く声に」の歌は、小倉百人一首にも入れられている。
English: The utamakura, the bay of 'Suma,' sung in the second vocal section is a beach with green pines and white sand located in Suma Ward, Kobe City in the present days.
Japanese: 後唄で歌われている歌枕「須磨」の浦は、今の神戸市須磨区にある白砂青松の海岸。
English: A part of the introduction is used in some scenes of "TORA! TORA! TORA!," a movie featuring Attack on Pearl Harbor.
Japanese: 前弾きの一部が、真珠湾攻撃を題材とした映画『トラ・トラ・トラ!』のいくつかの場面で使われている。
English: A koto kumiuta "Umegae" allegedly composed by Yatsuhashi Kengyo is also occasionally called 'Chidori no Kyoku.'
Japanese: 八橋検校作曲と伝えられる箏曲組歌『梅ヶ枝』の別名として「千鳥の曲」と呼ぶ場合もある。
English: In addition to Chidori no Kyoku, there are many songs with a title including 'chidori' such as "Tomochidori" (a flocking plover) (composed by Hisamura Kengyo, koto kumiuta), "Iso Chidori" (beach plover) (composed by Kikuoka Kengyo, arranged by Yazaki Kengyo, tegotomono jiuta, koto music), and "Kawa Chidori" (river plover) (composed by Ikuyama Kengyo, tegotomono jiuta, koto music).
Japanese: 千鳥の曲のほか、曲名に「千鳥」を冠した楽曲に、『友千鳥』（久村検校作曲、箏組歌）、『磯千鳥』（菊岡検校作曲、八重崎検校箏手付、手事もの地歌・箏曲）、『川千鳥』（幾山検校作曲、手事もの地歌・箏曲）がある。
English: There are also children's songs such as "Hama Chidori" (plovers on the beach) (written by Meishu KASHIMA, composed by Ryutaro HIROTA) and "Chin Chin Chidori" (written by Hakushu KITAHARA, composed by Hidemaro KONOE).
Japanese: また、童謡には『浜千鳥』（鹿島鳴秋作詞・弘田龍太郎作曲）、『ちんちん千鳥』（北原白秋作詞・近衛秀麿作曲）がある。
English: Chidori is a collective name of birds of Charadriiformes, Charadriidae, including Mongolian plover, little ringed plover, and snowy plover.
Japanese: チドリはチドリ目チドリ科の鳥の総称で、メダイチドリ、コチドリ、シロチドリなどがある。
English: They live on the coast, riverbank, or wetland, having been popular as a special feature on the beach and riverbank since ancient ages and known as a pattern of 'Nami ni Chidori' (plover on the wave).
Japanese: 海岸、河原、湿原などに生息し、古くから浜辺や河原の風物詩として親しまれ、「波に千鳥」などの図柄、紋でも知られる。
English: Tama-gawa River in Noda of Mutsu Province (present Shiogama City, Miyagi Prefecture) and Gyotoku in Shimosa Province (present Ichikawa City, Chiba Prefecture) as well as Suma no ura and Sashide no iso in Chidori no Kyoku were famous for plovers.
Japanese: 千鳥の曲の須磨の浦や差手の磯のほか、陸奥国の野田の玉川（現宮城県塩竈市）や下総国の行徳（現千葉県市川市）なども千鳥の名所として知られた。
English: Nerigashi (a confection made from kneaded beans, rice, or rice powder) is also referred to as 'konashi,' which is a snack food produced by mixing an ingredient in the form of powder or grain and an ingredient in the form of liquid or paste, applying external forces for many times to homogenize the distribution, and finishing it in a clayey state of plastic deformation.
Japanese: 練り菓子（ねりがし）は、別名「こなし」ともいい、粉状もしくは粒状の原料と液状もしくは粘土状の原料を配合してから、外力を繰り返し加えて分布を均一化し、粘土状の塑性変型する状態に仕上げた間食用の食品類。
English: Some can be eaten as they are, and others must be steamed before eating, depending on the nature of the ingredients.
Japanese: 原料の性質により、成形後にそのまま食用になるものと、蒸して加熱する必要があるものに分かれる。
English: Rice cake is produced by a similar production method, but it is often regarded as staple diet and not included in nerigashi.
Japanese: 餅も練り菓子と類似の製法で作るが、主食と考えられる事が多く、練り菓子に入れられない事も多い。
English: Komeko (rice powder), hattaiko (flour of roasted barley), soybean flour, and sugar are often used as the powder ingredients; sesame, walnuts are often used as the grain ingredients; pastes such as red-bean jam are often used as the paste-like ingredients; and hot water, tea, milk, and grated potatoes are often used as the liquid ingredients.
Japanese: 粉末原料として、米粉、はったい粉、黄粉、砂糖など、粒状の原料としてゴマ、クルミなど、粘土状の原料としてアズキなどの餡、液状の原料として湯、茶、牛乳、おろした芋類などがよく使われる。
English: Hanging "teru teru bozu," a hand-made doll made of white paper or cloth, at the front of a house in the straight position is a Japanese custom, which is believed to bring good weather for the next day.
Japanese: てるてる坊主（－ぼうず）とは、日本の風習の一つであり、これを正立させた状態で軒先などに飾ると、明日の天気が晴れになると言われている。
English: It is called various names by region, such as 'teru teru bozu,' 'tere tere bozu,' and 'hiyori bozu.'
Japanese: 「てるてる法師」、「てれてれ坊主」、「日和坊主（ひよりぼうず）」など地域によってさまざまな呼称がある。
English: Some regions hang the doll upside down to pray for rain, which is also has various names like 'fure fure bozu,' 'ame ame bozu,' and 'rute rute bozu.'
Japanese: 一部地域などでは逆に倒立させた状態で飾ると、明日の天気が雨になると言われている（「ふれふれ坊主」「あめあめ坊主」「るてるて坊主」と言われる）。
English: In the "帝城景物略," there is a description that 'As this area has little rain these days, I made a girl doll with white paper, dressing it in clothes made of red and green colored paper, letting it take a small broom made of plant, and hung it under the eaves, giving it the name of 掃晴娘.'
Japanese: 『帝城景物略』には、「雨文、以白紙作婦人首、剪紅緑衣之、以苕箒苗縛小箒、令携之、竿懸簷際、曰掃晴娘」とある。
English: There is a description in "Kiyushoran" (an encyclopedic book on cultures) that after the weather became fine, teru teru bozu is thrown into a river with a bottle of sacred sake after face parts were applied.
Japanese: 『嬉遊笑覧』という本には、晴天になった後は、瞳を書き入れて神酒を供え、川に流すと記されている。
English: Moreover, in the third volume of "Kagero Diary" (a classical piece of Japanese literature, diary literature), there is a description that 'Despite heavy rain, I visited a shrine to pray for sunshine tomorrow.
Japanese: また『蜻蛉日記』下巻に「今日かかる雨にもさはらで、同じ所なる人ものへまうでつ。
English: I had thought that nobody would visit there in such a day, but there was an unknown person, who told me, "If you make a girl doll and dress it in hand-made clothes, the weather will become fine tomorrow.
Japanese: さはることなきにもと思ひ出たれば、或る者、女神にはきぬ縫ひてたてまつるこそよかんなれ。
English: Although I could not believe it, I decided to try it and sewed silk clothes.
Japanese: しかしたまへとより来てさざめけば、いでこころみんとて、○（左「糸」＋右「兼」）のひらな衣みつぬひたり。
English: However, I could not understand why this doll works miracles.
Japanese: したがひどもにかうぞ書きたりけるは、いかなるこころばへにかありけん。
English: Released in 1921, this song was introduced in schoolbooks (its lyrics cannot be introduced here, because this song is in a copyright protection period.
Japanese: 1921年（大正10年）に発表され、教科書にも掲載されていた（著作権保護期間継続中の為、歌詞はここに記載しない。
English: The third set of lyrics, 'If the weather of tomorrow should not be fine, I will cut off the neck of you, teru teru bozu,' is so cruel that this set is frequently excluded from broadcasting today.
Japanese: 3番の歌詞は、「晴れにならなければ首をちょん切る」といった残酷な内容であるため、現在放送する際は3番をカットすることが多い。
English: Then, the players are credited with a certain number of points calculated on the basis of the shape which is formed by the combination of fan, Cho (target), and Makura (pedestal).
Japanese: そして、その扇・蝶（的）・枕（台座）によって作られる形を判定することにより点数を算出し、その高低を競う。
English: Some people say that it started when someone threw a fan at a butterfly which was resting on a wooden pillow, and found it amusing to see the butterfly and fan floating in the air and landing on the wooden pillow.
Japanese: 由来の一つとして木枕に蝶が休んでいる所に扇を投げつけた所その蝶と扇が舞い、木枕に乗る様子がおもしろいとしたというものがある。
English: Tosenkyo was developed as a party trick in the Edo period, continued into the Meiji period, and then died out once.
Japanese: 江戸時代にお座敷芸として開発され明治時代まで頻繁に行われたが、その後一度廃れた。
English: There are various schools of Tosenkyo such as kisen-ryu, misen-ryu, miyakoon-ryu, and towa-ryu schools.
Japanese: 其扇流（きせんりゅう）・御扇流（みせんりゅう）・都御流（みやこおんりゅう）・戸羽流（とわりゅう）等が存在する。
English: Around 1975, it was restored as an ogizuka event (a ceremony of thanksgiving for used fans) by the Asakusa Tourism Federation because it was associated with Asakusa.
Japanese: 1975年ごろから浅草観光連盟に於いての扇塚供養のイベントとして浅草にゆかりのあるものとして復旧された。
English: The game differs in many ways except that each player uses a fan to aim at 'Cho' (butterfly) which is set up on a pillow on a scarlet felt mat.
Japanese: 緋毛氈上の枕の上に蝶を立て扇を用いて蝶を狙う点を除くと違う面が多い。
English: Most of the Meis were taken from 54 people of "Genji Monogatari" (The Tale of Genji) including Uji jujo (The Ten Quires of Uji) but some of Meis were taken from a certain place name or Hyakunin-Isshu.
Japanese: 銘は『源氏物語』中の宇治十帖を含む54名よりその名前が取られているものの、一部地方の地名や百人一首などを銘として利用するものもある。
English: Even for the same Mei, each school has different definitions and scores and also different judgment by gyoji (umpire).
Japanese: また流派により同じ銘においても定義や点数が違い、また行司の采配にも影響される面がある。
English: Therefore, you should think that different schools could have different rules and aims.
Japanese: したがって、流派が違う時点でルールや狙いに関しては違うものと考えておいた方がよい。
English: Basically, the game is designed so that a player gets a low score when he or she knocks down the pillow (may get minus point depending on school), and gets a high score when he or she is able to form a shape which looks fine and difficult.
Japanese: 基本的に枕を倒した場合の得点は低く（流派によってはマイナス点）、形が精美かつ難易度の高い形になった場合の得点は高くなるように設定されている。
English: When braziers or irori fire places were widely used, Hibashi chopsticks were common tools you could see in any home in Japan.
Japanese: かつて火鉢や囲炉裏が普及していた時代には、どこの家庭にもある一般的な道具だった。
English: A Hibashi chopstick consists of two iron sticks narrow at the points, and is about 25 centimeters to 40 centimeters long.
Japanese: 2本の、先に行くにつれて細くなる鉄の棒で構成され、長さは25センチから40センチ程度。
English: The back end of the Hibashi chopstick comes in a variety of forms: rounded shape; copper nail-like shape; one fitted with a ring by splitting or wrapping.
Japanese: 後端は丸いもの、瓦釘のようになっているもの、割ったり巻いたりして輪をつけたものなど様々である。
English: There was a custom of thrusting two Hibashi chopsticks into ash crossing them over each other when covering a brazier fire with ash to put it out.
Japanese: 火鉢の火を灰を被せて消した後、火箸を十文字に刺しておくという習慣があった。