nntsuzu/KFTT huggingface dataset:
English: In modern Japan, 'monogatari' is associated with a 'fictitious' 'tale' that has a shape as 'writing'which is told in an orderly way and has a coherent structure.
Japanese: 現代日本において「物語」と述べて想起・想像されるのは、順序だてて語られ、秩序だった構成を認めうる、いわゆる「文章」としてのまとまりを持った「作られた」「お話」のことである。
English: It is sometimes used as an English equivalent for 'narrative,' and often confused with an idea of 'story' or used together with the word 'story.'
Japanese: 「ナラティブ（英narrative）」の訳語として用いられることもあり、「ストーリー」などの概念と、雑多に混同ないし併記されて使用されることも多い。
English: In the first place, the term 'monogatari' referred also to 'chatting' in literary works from the Heian period such as "The Tale of Genji."
Japanese: 『源氏物語』など平安時代の文学作品においては、そもそも「物語」という用例には幅広く「お喋り」の用例を含んでいる。
English: For example, 'conversation' between court women and meaningless 'sounds' which babies let out were considered 'monogatari,' too.
Japanese: 例えば、女房同士の「会話」や、赤ん坊が意味をなさない「声」を挙げるのも「物語」である。
English: Therefore the word 'monogatari' may have been equivalent to 'having a talk.'
Japanese: そのため原初的な「物語」の語は、「話をすること」そのものと不可分であったと考えられる。
English: The possibility of 'monogatari' as 'chatting' at that time being passed down to this day is very low unless it was written down.
Japanese: 文章にならない場合、当時の「お喋り」としての「物語」が現存する可能性はきわめて低い。
English: Other than the works which are currently recognized as 'monogatari,' there seems to have been various 'lost and dispersed monogatari,' but we have to be careful about the difference between the current definition of 'monogatari' and what 'monogatari' meant in those days.
Japanese: 現存する「物語」として認められる作品以外にも、平安時代には様々な「散逸物語」があったと考えられているが、「物語」の語が捉える範囲そのものが現代と違うことに注意を要しよう。
English: These 'monogatari' also contained a great number of works concerning real incidents and people from that time as well as what is called 'tsukuri monogatari' (fanciful tale) featuring fictitious characters.
Japanese: また、それらの「物語」の中には、いわゆる「作り物語」といわれるような架空の登場人物を想定できるもの以外にも、当時の実在の事件や人物を取り上げたものが相当数あった。
English: It was quite difficult to draw the line between fiction and nonfiction.
Japanese: そして、架空であるか実際の出来事であるか、といったことの境界は、極めて不分明であった。
English: For example, "Ise Monogatari" (The Tale of Ise) is a work that is called 'monogatari' because it was originally called that way and readers have enjoyed the work even though the main character was considered for a while to be a real person, ARIWARA no Narihira.
Japanese: 例えば『伊勢物語』のように「物語」と当時の文献で呼ばれている作品であっても、主人公が実在の在原業平その人と一定の期間信じられた上で、親しまれた作品も認められる。
English: Both 'true stories' and 'fictions' were considered 'monogatari' in the beginning, and it was difficult to tell them apart.
Japanese: 「物語」の成立当初は、「実話」と「作り話」双方が「物語」と捉えられ、区別すらし難いものであった。
English: Moreover, complicated works such as "The Tale of Genji" include cases where, (1) within the 'monogatari' work itself (2) 'monogatari' that consist of the characters' 'chatting' (3) regarding opinions about 'monogatari.'
Japanese: さらに『源氏物語』のような複雑な作品になると、（1）「物語」作品内における、（2）登場人物の「お喋り」としての「物語」で、（3）「物語」論が取り沙汰される例などもある。
English: (1) to (3) can all be defined as 'monogatari.'
Japanese: これらの（1）～（3）は全て一言に「物語」と定義することも可能である。
English: However, readers are forced to be aware of the simultaneous 'monogatari' found in several layers of a single work.
Japanese: しかし同一作品で同時に複数の階層における「物語」を意識せざるをえない。
English: It is considered that existing works of monogatari,' which are recognized as literature today,were those that survived among the various kinds of 'monogatari.'
Japanese: そのような様々な種類の「物語」中から、現代において文学作品と認められうる、現存する「物語作品」が残ったと考えられる。
English: From the viewpoint of the establishment of 'monogatari', it is necessary to distinguish 'monogatari' created after the early-modern/modern times as literary works from ancient 'monogatari.'
Japanese: これら古代の「物語」を踏まえて、作品として作られた近世・近代以降の「物語」は、「物語」の成立という観点からは、区別して捉える必要がある。
English: Strictly speaking, there is a difference between the underlying concepts found in ancient 'monogatari' and the concepts which were imported in modern times called a 'narrative' or 'story' in English but also translated as 'monogatari.'
Japanese: また古代の「物語」の傾向から看取できる概念と、近代になって輸入された「ナラティブ」・「ストーリー」といった「物語」と訳された概念の間にも、厳密には差があるといえよう。
English: From the perspective of 'narratology' in literary theory since the modern times, works which contain a plot tend to be widely recognized as monogatari.
Japanese: 近代以降の文学理論における「物語論」（ナラトロジー）の観点からは、筋としてまとめられる言説のことを、広く物語と捉える傾向がある。
English: It seems that the study of monogatari could have been influenced by the concept of a 'narrative.'
Japanese: これらは、いわゆる「ナラティブ」の概念の影響を受けた物語研究と考えられる。
English: In the field of literary study, this is discussed in even narrower perspectives of 'narrative discourse,' 'narrative contents,' and 'narration.'
Japanese: 文学研究の分野では、更に細分化して、「物語言説」「物語内容」「語り」などの視点から取り上げられる。
English: It is also often analyzed from the perspectives of 'plot,' 'story,' and 'narrator.'
Japanese: また「プロット(物語)」、「ストーリー」、「語り手」と絡めて分析されることも多い。
English: The classical 'monogatari works' mentioned above are analyzed with these ideas, and such analysis sometimes bears results.
Japanese: これらの概念は上述の古典の「物語作品」にあてはめて分析され、有益な結果を生むこともある。
English: Therefore, the concepts of classical 'monogatari' and those of the 'narratives', which came after the modern and postmodern eras may have become mixed.
Japanese: それゆえに、古典の「物語」と近現代以降の「物語」の概念の混同が進んだとも考えられる。
English: However, even if it is possible to analyze such classical works, it does not mean that they were written according to the same concept as a narrative.
Japanese: ただし分析可能であることと、同一の概念であることには差があるため、注意が必要である。
English: In Japan, 'monogatari' in a broad sense sometimes means a work that is told to others.
Japanese: 日本で「物語」と言った場合には、他人に向かって語られる作品のことを、広義に「物語」と定義することもある。
English: Moreover, literary works and styles before the modern times are sometimes called monogatari to differentiate from modern novels.
Japanese: また近代小説に対比させて、近代以前の文学作品やその様式のことを物語と呼んで区別することもある。
English: Monogatari' in the narrowest sense refers to the classical monogatari works which began with "Taketori Monogatari" (the Tale of Bamboo Cutter) and ended with Giko monogatari (pseudo-classic monogatari) in the Kamakura period.
Japanese: 「物語」といった場合、最も狭義には『竹取物語』にはじまり、鎌倉時代の擬古物語に至る古典の物語文学作品そのもののことを指す。
English: Examples would be: "Ise Monogatari," "Heichu Monogatari" (The Tale of Heichu), "Utsuho Monogatari" (The Tale of the Hollow Tree), "Ochikubo Monogatari" (The Tale of Ochikubo), "The Tale of Genji," "Eiga Monogatari" (A Tale of Flowering Fortunes), "Hamamatsu Chunagon Monogatari" (The Tale of Hamamatsu Chunagon), "Sagoromo Monogatari" (The Tale of Sagoromo) and "Torikaebaya Monogatari" (The Changelings).
Japanese: 『伊勢物語』『平中物語』『宇津保物語』『落窪物語』『源氏物語』『栄華物語』『浜松中納言物語』『狭衣物語』『とりかへばや物語』などが挙げられる。
English: Fairy tales, didactic tales, old tales, and folklores, such as "Otogi Zoshi", are sometimes called monogatari as well.
Japanese: また、『お伽草子』などに含まれるおとぎ話や説話、昔話、民話などを漠然と指して物語と呼ぶこともある。
English: These works are considered as examples of 'monogatari' that strongly retain the 'chatting' aspect mentioned above.
Japanese: これらの例は、上述の「お喋り」としての「物語」の側面が強く残っている例と考えられる。
English: Monogatari which contain moral lessons using similes are sometimes called 'fable'.
Japanese: 道徳的教訓を含めた、比喩を用いた物語をとくに「寓話」と呼んで区別することもある。
English: The history of 'monogatari works' in the broadest sense, including 'narrative,' will be explained here.
Japanese: ここでは「ナラティブ」を含む、最も広義の「物語作品」の歴史について記述する。
English: The"Gilgamesh Epic", written in ancient Mesopotamia, is a famous ancient tale.
Japanese: 古い物語として有名なのは、古代オリエントの『ギルガメシュ叙事詩』である。
English: In Japan, "Taketori Monogatari" is known as the first 'monogatari' among existing works.
Japanese: 日本文学においては、現存する作品では『竹取物語』が最初の「物語」として知られる。
English: Murasaki Shikibu commented that it was 'an ancestor of monogatari.'
Japanese: 紫式部は『源氏物語』において、これを「物語の出で来始めの祖」と評した。
English: The history of medieval Japanese literature covers the history of literary works written approximately from the Kamakura to the Azuchi-Momoyama Periods.
Japanese: 日本の中世文学史は、およそ鎌倉時代から安土桃山時代までの日本文学の歴史である。
English: Kyoto continued to be the center of culture even after MINAMOTO no Yoritomo established the Kamakura bakufu (Japanese feudal government headed by a shogun) despite the center of politics having moved from Kyoto and its vicinity to the Kanto region.
Japanese: 源頼朝が鎌倉幕府を開き、政治の中心が上方から東国へ移ったが、京都は文化的中心であり続けた。
English: During the Kamakura period, the "Shin Kokin wakashu" (New Imperial Anthology of Japanese Poetry), which is characterized by the elaborate techniques used, was compiled by FUJIWARA no Sadaie and other poets.
Japanese: 鎌倉時代には藤原定家らによって華麗な技巧に特徴がある『新古今和歌集』が編まれた。
English: Also, a style of writing that mixed Japanese and Chinese words, which can be said to be the direct predecessor of the modern Japanese language, was born and many works were written using it.
Japanese: また、現代日本語の直系の祖先と言える和漢混淆文が生まれ、多くの作品が書かれた。
English: The "Heike Monogatari" (The Tale of the Heike) was performed by biwa-playing minstrels, and in the Muromachi period, the "Taiheiki" (The Record of the Great Peace) was told by Taiheiki-yomi (Taiheiki storytellers).
Japanese: 『平家物語』は琵琶法師により、室町時代には『太平記』が太平記読みにより語られた。
English: Additionally, renga, a kind of waka poetry that alternates continuously between the upper and lower halves of three lines and two lines in turns, had become popular, since the Kamakura period, among aristocrats as well as the common people.
Japanese: また鎌倉時代から上句と下句を連ねる和歌である連歌も貴族から一般民衆までの間で行われた。
English: Meanwhile, other performance arts such as Noh plays were well received by many, and Zeami summarized its aesthetics in the "Fushikaden" (The Flowering Spirit).
Japanese: また、能などの舞台芸術が多くの人々に受け入れられ、その美学は世阿弥によって『風姿花伝』にまとめられた。
English: As for Buddhism, Dogen's "Shobogenzo" (Treasury of the Eye of True Teaching) and his pupil Koun Ejo's work, "Shobogenzo-zuimonki" were written in around the mid-thirteenth century.
Japanese: 仏教では13世紀中頃には道元の『正法眼蔵』、弟子の孤雲懐奘の『正法眼蔵随聞記』が成立した。
English: Classical Japanese literature (Chuko Bungaku) refers to literature written in the Chuko (middle-older) era of Japanese history, especially that of the Heian period.
Japanese: 日本の中古文学史（にほんのちゅうこぶんがくし）は、中古(時代区分)（およそ平安時代）の日本文学の歴史である。
English: Chinese poetry and classics have flourished since ancient times, and Juyi BAI was an especially influential poet whose works were collected in "Wakan Roeishu" (Japanese and Chinese Poems to Sing).
Japanese: 漢詩・漢文が上代に引き続き栄え、特に『和漢朗詠集』でも多く採り上げられた白居易の影響は大きかった。
English: The influence of Juyi BAI's "Changhen Ge" (The Song of Everlasting Sorrow) can be recognized in narratives written in kana (the Japanese syllabaries) such as "The Tale of Genji," especially in the chapter of 'Kiritsubo' (The Paulownia Court).
Japanese: 『源氏物語』などの仮名の物語文学においても、「桐壺」などで白楽天の『長恨歌』との関係が強く認められる。
English: The status of studying Chinese poetry, classics, and history, which were called Kidendo, was raised in the Daigaku-ryo, a governmental institution of learning.
Japanese: また、政府の教育機関であった大学寮においても漢詩・漢文・歴史を教授した紀伝道の地位が上昇した。
English: SUGAWARA no Michizane, who eventually became Udaijin (The Minister of the Right) from Monjo hakase, a professor of Kidendo, was known not only as a politician but also as an excellent scholar of literature.
Japanese: 紀伝道の教授である文章博士から右大臣となった菅原道真は、政治家としてのみならず、優れた文学者としても知られている。
English: In 905, "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry), the first Chokusen Wakashu (anthology of Japanese poetry compiled by Imperial command), was compiled and waka poetry came to be considered equal to Chinese poetry.
Japanese: 905年には初の勅撰和歌集である『古今和歌集』が編纂され、和歌が漢詩と対等の位置を占めるようになった。
English: Waka poems which were composed in public such as utaawase (poetry contest) became common and many poems were inscribed on folding screens.
Japanese: 歌合せなどの公的な場での和歌が多く認められるようになる他、屏風歌なども多く詠まれた。
English: Consequently, Shikashu, a collection of poems by a prominent poet, also achieved recognition.
Japanese: それに伴い、著名な歌人の歌を集めた私家集の存在が認められるようになる。
English: When and by who the Shikashu was created is still unknown because each Shikashu was created in different situations, but there are many Shikashu which seem to have had influences on later poets and works such as the "Tsurayuki shu," a poem collection of KI no Tsurayuki and "Ise shu," a collection of Ise (poet)'s works.
Japanese: 成立時期や編者などは各家集ごとに状況が異なるため未詳であるが、紀貫之の歌を集めた『貫之集』、伊勢(歌人)の『伊勢集』など後世の歌人・作品に影響を与えたと思われる作品も多い。
English: Throughout the Heian period, male court nobles in politics used kanji (Chinese characters) for writing and sentences were all in kanji.
Japanese: 平安時代を通して、男性貴族が政治で使う文字は漢字であり、文章は漢文であり続けた。
English: Because women such as court ladies in Kokyu (Empress's residence) used 'kana,' male government officials who had contacts with them also came to use 'kana.'
Japanese: 後宮の女房など女性たちが「かな」を使用したため、その女性たちと交流を持つ男性官人も「かな」を使うようになった。
English: The flourishing of waka poetry mentioned above had something to do with 'kana,' which came into widespread use, along with the appearance of many female poets
Japanese: 前述の和歌の隆盛も、「かな」の流行とは無縁ではなく、多くの女流歌人を生み出している。
English: Literary diaries written in kana began to be created such as "Tosa Nikki" (Tosa Diary), which was written in kana by KI no Tsurayuki who pretended to be a woman.
Japanese: 紀貫之が女性の立場から仮名で書いた『土佐日記』をはじめとして、仮名文の日記風の作品が認められるようになる。
English: In addition, Sei Shonagon wrote "Makura no soshi" (The Pillow Book), which included sections of essays, helping to establish essays as literary works.
Japanese: また清少納言の手による、随想的章段を含む『枕草子』などが書かれ、随筆的文学が栄えていくことにもつながった。
English: This period is also characterized by many tales, including ones which do not exist any more.
Japanese: 現存しない散逸物語も含め、多くの物語作品が作られたのもこの時期の特徴である。
English: The history of tales began with "Taketori Monogatari" (The Tale of the Bamboo Cutter), which was mentioned in "The Tale of Genji" as the predecessor of tales, and many tales which are still exist were written: "Ise Monogatari" (The Tales of Ise), "Utsuho Monogatari" (The Tale of Utsuho), "Ochikubo Monogatari" (The Tale of Ochikubo), and so on.
Japanese: 『源氏物語』で「物語の出で来はじめの祖なる竹取の翁」と表現される『竹取物語』にはじまり、『伊勢物語』・『宇津保物語』・『落窪物語』など現存する物語が多く書かれている。
English: In the beginning of the Heian period, many of these tales seem to have been written by male writers, although more female writers came to create their works in kana, which is a distinguishing charcateristic.
Japanese: これらは平安初期においては男性の手によると思われるものも多いが、仮名による女性の作品が増えていくのも特徴である。
English: "The Tale of Genji" by Murasaki Shikibu, which was written under the influence of many of the preceding literary works in both Chinese and kana, can be said to be a masterpiece of classical Japanese literature and has had a great influence on the entire history of Japanese literature.
Japanese: 先行する数多の漢文学、仮名文学双方を踏まえた紫式部による『源氏物語』は、中古の文学の代表作とも言うべき長大な作品で、以降の日本の文学史全体に強い影響を与えている。
English: Various collections of anecdotes were also compiled and the culture and literature in this period is represented by "Konjaku Monogatari Shu" (Tales of Times Now Past), which could be said to be a compilation of all the anecdotes from that period.
Japanese: また様々な説話集も編まれており、その集大成とも言いうる『今昔物語集』などの説話集の存在も、この時代の文化や文学の様子をよく現している。
English: Akinari UEDA (July 25, 1734 - August 8, 1809) was a writer of yomihon (books), a poet, an expert in the tea ceremony, a scholar of Japanese classics and a haiku poet in the late Edo period.
Japanese: 上田秋成（うえだあきなり、享保19年6月25日(旧暦)（1734年7月25日）-文化(元号)6年6月27日(旧暦)（1809年8月8日））は、江戸時代後期の読本作者、歌人、茶人、国学者、俳人。
English: He was born in 1734 at Sonezaki in Osaka, as an illegitimate son of Osaki MATSUO.
Japanese: 1734年（享保19年）、大坂曾根崎に、松尾ヲサキの非嫡出子として生まれた。
English: I don't have no father and don't know why; my mother left me when I was four' (Jizokyoki (text described Akinari UEDA's life by himself on the top board of the wooden box), 1808).
Japanese: 「父ナシ、ソノ故ヲ知ラズ。四歳、母マタ捨ツ」（自像筥記(1808)）。
English: He was adopted in 1737 at four years of age by Mosuke UEDA, who ran an oil and paper merchant business called Shimaya at Eramachi in Dojima (the present-day 1-chome Dojima, Kita Ward, Osaka City), and was called Senjiro.
Japanese: 1737年（元文2年）4歳、堂島永来町（現、大阪市北区(大阪市)堂島1丁目）の紙油商嶋屋、上田茂助の養子となり、仙次郎と呼ばれた。
English: In the same year, Mosuke lost his wife, and married again the next year, so Akinari was brought up by this second adoptive mother.
Japanese: この年茂助は妻を喪い、翌年再婚し、彼はその第2の養母のもとで育った。
English: When he got smallpox, Mosuke went to Kashima Inari Shrine (the present-day Kaguwashi-jinja shrine) at Kashima village (the present-day Kashima, Yodogawa Ward, Osaka City) to pray for his complete recovery from the illness, and Mosuke received a divine message that Akinari would live until 68, and after that Akinari was also taken to visits to the shrine.
Japanese: 疱瘡を病んだとき、茂助は、加島村（現、大阪市淀川区加島）の加島稲荷（現、香具波志神社）に本復を祈願し、68歳までの存命を告げられ、以降、秋成も同社への参詣を怠らなかった。
English: In 1751, at age 18, he began to indulge in debauchery, but on the other hand, he strengthened the foundations of his studies, enthusiastically learning haikai (playful linked verse), reading gesaku (plays), and exploring the Japanese and Chinese classics.
Japanese: 1751年（宝暦元年）18歳、遊蕩を覚えた反面、この頃から俳諧に遊び、戯作を耽読し、和漢の古典を探るなど、基礎を養った。
English: The teachers and friends who inspired him were Kikei TAKAI, Shigeie KOJIMA, Nariakira FUJITANI, Seigyo KATSUBE and so on.
Japanese: 感化を受けた師友には、高井几圭・小島重家・富士谷成章・勝部青魚らがあった。
English: His haiku pen name was 'Gyoen,' but he also used different names such as Mucho, Sanyosai (三余斎), Yosai, Uzura no okina (鶉翁), Uzurai, and as a gesaku writer he called himself Wayaku Taro, Senshi Kijin or Rakugai Hankyojin.
Japanese: 俳号は「漁焉」であったが、ほかに、無腸、三余斎、余斎、鶉翁、鶉居（うづらゐ）などの別号、和訳太郎、剪枝畸人、洛外半狂人などの戯号（筆名）を用いた。
English: Although he had many friends and treated his teachers with due honor, he insinuated his stubbornness and obstinacy in the name, saying 'the inside is tender, but the outside is tough' and 'walks sideways in the world.'
Japanese: 「内は柔らかいが外は固い」「世を横に歩く」など、おのれの頑固・狷介をこの別号に諷したとしても、知友は少なくなく、師を遇する礼にも厚かった。
English: In 1766, at age 33, he published 'Shodo Kikimimi Sekenzaru' (monkey who hears various things) of Ukiyozoshi (Literally, Books of the Floating World).
Japanese: 1766年（明和3年）33歳、浮世草子「諸道聴耳世間猿」（しょどうきゝみゝせけんざる）上梓。
English: In 1771, at 38 years of age, the Shimaya was ruined in a fire, so he temporarily lived in the residence of a Shinto priest in Kashima Inari Shrine, and studied medicine with help of his friend, Kenkado KIMURA.
Japanese: 1771年（明和8年）38歳、嶋屋が火災で破産し、加島稲荷の神職方に寄寓して、友人木村蒹葭堂らに助けられながら、医を学んだ。
English: In 1776, at age 43, he moved to Amagasaki in Osaka (near the present-day Korai-bashi Bridge in Chuo Ward, Osaka City) and resumed his medical practice.
Japanese: 1776年（安永5年）43歳、大坂尼崎（現在の大阪市中央区(大阪市)高麗橋付近）に移って医療を続けた。
English: In 1780, he bought a house at Kiricho in Awaji machi (the present-day 1-chome Awaji machi, Chuo Ward, Osaka City), and the following year he took up residence after rebuilding it.
Japanese: 1780年、淡路町切丁（現在の大阪市中央区淡路町1丁目）に求めた家を改築し、翌年住まった。
English: In 1784, at 51 years of age, he wrote a draft of 'Kanno Wano Nano Kokuo Kinin ko (A Study of the Golden Seal of the King of Japan, Chinese Colony),' and in 1785 he wrote a draft of 'Kaseiden' (a study of Manyo shu (Collection of Ten Thousand Leaves)).
Japanese: 1784年（天明4年）51歳、「漢委奴国王金印考」（考証）、1785年、「歌聖伝」（万葉集研究）稿。
English: In 1787, at age 54, he retired to Awajisho Village (淡路庄村) at the northern edge of Osaka (near the present-day Awaji Station of the Hankyu Railway).
Japanese: 1787年（天明7年）54歳、大坂北郊淡路庄村（現在の阪急電鉄淡路駅付近）に隠退した。
English: He published a play entitled 'Kakizome Kigen Kai (New Year's Calligraphy and a Sea of Changing Feelings)' as well as 'Yakanasho' (the grammar of haikai).
Japanese: 「書初機嫌海」（かきぞめきげんかい）（戯作）、「也哉鈔」（やかなしょう）（俳文法書）を上梓。
English: In 1789, at age 56, he attended the deathbeds of his mother-in-law and his second adoptive mother at Awajisho Village.
Japanese: 1789年（寛政元年）56歳、妻の母と2番目の養母とを淡路庄村でみとった。
English: In 1791, he wrote a draft of 'Kuse Monogatari' (a collection of essays), and collated and published Mabuchi's 'A Collection of Poems by Agatai (Mabuchi)' and Umaki's 'A Collection of Poems by Shizuya.'
Japanese: 1791年に「癇癖談」（くせものがたり）（随筆集）稿、真淵の「あがた居の歌集」と宇万伎の「しず屋の歌集」を校訂上梓。
English: In 1793, at age 60, he moved to Fukuro-cho in the capital (the present-day Fukuro-cho, Higashiyama Ward, Kyoto City).
Japanese: 1793年（寛政5年）60歳、京の袋町（現在の京都市東山区袋町）に移った。
English: Subsequently, he published 'Seifu Sagen' (a book on sajicha, the spoon tea ceremony) in 1794 and 'Reigotsu' (a study of the use of kana) in 1797 while moving house in locations such as the precincts of Nanzen-ji Temple (Sakyo Ward), Higashi no Toin Shijo (Shimogyo Ward) and Koromo no Tana Marutamachi (Kamigyo Ward) to Fukuro-cho.
Japanese: その後、南禅寺山内（左京区）、東洞院四条（下京区）、衣棚丸太町（上京区）、袋町と転々しながら、1794年「清風瑣言」（匙茶道書）を、1797年「霊語通」（仮名遣い研究）を上梓。
English: In 1798, at age 65, he went blind in his right eye as well, but Ryojun TANIKAWA, an acupuncturist living in Osaka, treated him and his eye got a little bit better.
Japanese: 1798年（寛政10年）65歳、右目も失明するが、大阪の鍼医、谷川良順の治療によりやや回復した。
English: After he returned to the capital, he moved to the residence of Nobuyoshi HAKURA, one of his disciples, at Marutamachi (Hirokoji Teramachi-dori Street, Kamigyo Ward).
Japanese: 帰京後、門人羽倉信美の丸太町（上京区寺町通広小路）の邸内に移り住んだ。
English: During his stay in Kyoto, he kept company with Cloistered Imperial Prince Kanin no Miya Masahito, Kinnori OGIMACHISANJO, Roan OZAWA, Kenkado KIMURA, Kokei BAN, Kotei MURASE, Dohachi TAKAHASHI the First, Nanbo OTA in Edo, and so on.
Japanese: 京都時代には、閑院宮真仁法親王、正親町三条公則、小沢蘆庵、木村蒹葭堂、伴高蹊、村瀬栲亭、初代高橋道八、そして江戸の大田南畝らと交わった。
English: In 1801, at age 68, the age that Kashima Inari Shrine had once predicted he would live to, he compiled 'Kenshin Wakacho,' a collection of poetry that totaled 68 poems, and dedicated it to the shrine.
Japanese: 1801年（享和元年）、昔加島稲荷に告げられた68歳に達し、68首の「献神和歌帖」を編んで同社に奉納した。
English: In 1804, at age 71, he wrote drafts of 'Koganeisago' (or Kinsa, a commentary on Manyoshu) and 'Kinsa Jogen' (Additional documents of Kinsa); and the following year, 1805, he wrote a draft of 'The 72 Divisions of the Solar Year.'
Japanese: 1804年（文化(元号)元年）71歳、「金砂」（こがねいさご）（万葉集注釈）、「金砂剰言」、1805年、「七十二候」稿。
English: In 1821, a tombstone was built for the twelfth anniversary of his death, and it remains today.
Japanese: 1821年（文政4年）の十三回忌に建てられた墓石が、今に残っている。
English: KAKINOMOTO no Hitomaro (male, c. 660 to c. 720) was a poet in the Asuka period.
Japanese: 柿本人麻呂（かきのもとのひとまろ、男性、660年頃～720年頃）は、飛鳥時代の歌人。
English: As for Hitomaro's background, one theory suggests that KAKINOMOTO no Oba was his father and KAKINOMOTO no Saru his brother.
Japanese: 人麻呂の出自については、父を柿本大庭、兄を柿本猨（さる）とする説がある。
English: However, as no proof has survived in contemporary historical sources there is no other choice but to consider all of his background unknown.
Japanese: が、同時代史料には拠るべきものが何一つなく、一切は不明とみるほかない。
English: In general, he is considered to have entered the service of the Imperial Court by 680 ("Manyoshu" volume 10, the annotation to the left of 2033), and it is usually suggested that he started his activities as a poet in the reign of Emperor Tenmu and flourished during the reign of Empress Jito.
Japanese: 一般には天武天皇の9年（680）には出仕していたとみられ（『万葉集』巻10・2033左注）、天武朝から歌人としての活動をはじめ、持統朝に花開いたとみられることが多い。
English: However, because he composed an elegy mourning for the death of a minor court lady who served the court while the Imperial Palace in Omi Otsu no Miya was the capital ("Manyoshu" volume 2, 217-219), there is a theory that he served during the period from 667 to 672 as well (Shigeo KITAYAMA).
Japanese: ただし、近江朝に仕えた宮女の死を悼む挽歌（『万葉集』巻2・217-219）を詠んでいることから、近江朝にも出仕していたとする見解もないではない（北山茂夫）。
English: Bearing in mind the fact that he presented his poems to several imperial princes and princesses, such as Prince Yuge, Imperial Prince Toneri and Imperial Prince Niitabe, some people do not think that he served a particular prince.
Japanese: 複数の皇子・皇女（弓削皇子・舎人親王・新田部親王など）に歌を奉っているので、特定の皇子に仕えていたのではないだろうとも思われる。
English: Recently some scholars have suggested that he was a court poet, such as Haku ITO (scholar of Manyoshu), and Tatsuo HASHIMOTO.
Japanese: 近時は宮廷歌人であったと目されることが多い（伊藤博(万葉学者)・橋本達雄など）。
English: But there were no official positions for a court poet in the Asuka period, and the truth remains unclear.
Japanese: が、宮廷歌人という職掌が飛鳥時代にあったわけではなく、結局は不明というほかない。
English: However, those of Hitomaro's poems with certain dates of composition fit almost perfectly the period from Empress Jito's accession to her death.
Japanese: ただし、確実に年代の判明している人麻呂の歌は持統天皇の即位からその崩御にほぼ重なっている。
English: It is likely to be true that the existence of the empress was regarded as the driving force for Hitomaro's activity.
Japanese: この女帝の存在が人麻呂の活動の原動力であったとみるのは不当ではないと思われる。