nntsuzu/KFTT huggingface dataset:
English: Sometimes, what looks like pupils may be faintly drawn in the eyes; the eyes may be tilted to in a manner to hint at the state of mind and the facial expression of the subject.
Japanese: 眼の中ほどにかすかに瞳らしきものが描かれたり、眼の傾きによって人物の心理、表情を読み取らせたりする例もある。
English: However, since the Meiji period, it has referred to an art object which was created in or before the early Heian period by using the technique introduced from the Chinese continent in the Nara period and has been handed down.
Japanese: だが、明治時代以降は奈良時代に中国大陸から伝来し、平安時代初期頃までに製作された伝世品を云うようになった。
English: A kanji (Chinese character) '褥' (shitone) is used to mention a cushion to lie on, which refers to a bed pad, etc.
Japanese: 寝るときの敷物は「褥」という文字を使い、ベッドパッドなどのことを指す。
English: Masasuke costume selection describes a shitone as follows: 'Its side or width is 0.90 m long; the four edges are bordered with a red Nishiki with a hem of a width of 12.12 to 15.15 cm; Chinese brocade, Kataorimono (hard woven), etc. are sewed to the inside of the four edges; there are stitches in a longitudinal direction inside; floss silk is stuffed into it.'
Japanese: 『満佐須計装束抄』では「長さ広さ四方3尺ほどで、赤地の錦の縁の広さ4～5寸ほどのものを四方にさしまわし、中に唐綾または固織物などを縁のうちざまに付けて、そのなかにたてざまに縫い目があり、綿を中に入れた」としている。
English: A shitone bordered outside with Togyo-ki brocade (東京錦) (brocade originally imported from Tonkin, which is also written in two kanji "東京") was particularly called Togyo shitone (cushions made with Togyo-ki brocade).
Japanese: 表に東京錦（トンキンから渡来した錦の意）を用いたものは特に東京茵などと呼ばれた。
English: The term "Tocha" refers to a tea competition where participants taste different kinds of tea to compete in discerning them, which was popular in the medieval period.
Japanese: 闘茶（とうちゃ）とは、中世に流行した茶の味を飲み分けて勝負を競う遊び。
English: It is also called kaicha (another name of tocha), incha shobu (tea competition), cha-yoriai (a meeting of samurai where they played tocha, igo, and other kinds of game), chato shobu (tea competition), or kocha (a kind of tea competition) in Japan, while it is also known as meicha (a Chinese name of the tea competition), meito (a Chinese name of the tea competition), etc. in China.
Japanese: 日本では回茶・飲茶勝負・茶寄合・茶湯勝負・貢茶、中国では茗茶・銘闘などの異名がある。
English: It was in the Kamakura period that tea drinking became popular in Japan.
Japanese: 日本において本格的に喫茶が行われるようになったのは、鎌倉時代に入ってからである。
English: It was written in the section of July 6, 1332 in ''Kogon Tenno Shinki" (The Diary of Emperor Kogon) that the Emperor held an 'incha shobu' with court officials (courtiers).
Japanese: 『光厳天皇宸記』正慶元年6月5日(旧暦)（1332年6月28日）条に廷臣達と「飲茶勝負」を行ったことが記されている。
English: It was also written in "Taiheiki" (The Record of the Great Peace) that Doyo SASAKI held a Hyakufuku-cha (Hundred Cups of Tea) (a kind of tocha) to compete for enormous prizes.
Japanese: また、『太平記』には、佐々木道誉が莫大な景品を賭けて「百服茶」を開いたことが記されている。
English: Its popularity was also criticized in Nijo-gawara Rakushu (an anonymous poem with satire and criticism in it, put up in Nijo-gawara) because tocha was involved with gambling for money and goods.
Japanese: 闘茶に金品などの賭け事が絡んだこともあり、二条河原落首では闘茶の流行が批判された。
English: Because Uji Tea as well as Toganoo Tea came to be classified as honcha, the procedure of tocha became complicated.
Japanese: 宇治茶が栂尾茶と並んで本茶として扱われるようになり、その方法も複雑化していった。
English: Shishu Jippuku-cha (tea competition, with ten cups of tea of four kinds of leaf) was most popular in the golden age of tocha from the period of the Northern and Southern Courts to the early Muromachi period.
Japanese: 闘茶の全盛期であった南北朝時代(日本)から室町時代初期にかけて最も盛んに行われたのが、四種十服茶（ししゅじつぷくちゃ）であった。
English: Four kinds including three kinds of tea called shucha (literally, "tea of a kind") and one kind of tea called kyakucha (literally, "guest tea") are used in this tocha.
Japanese: これは、種茶と呼ばれる3種類と客茶と呼ばれる1種類の計4種類を用いるものである。
English: First, a cup for each of three kinds of shucha is made, which makes three cups, and each of them is named 'Ichi-no-cha' (Tea No.1), 'Ni-no-cha' (Tea No.2), or 'San-no-cha' (Tea No.3).
Japanese: まず種茶を点てた3つに「一ノ茶」・「二ノ茶」・「三ノ茶」と命名する。
English: Second, ten tea bags including three bags each of three kinds of shucha, which makes nine bags, and one bag of the kyakucha, which was not offered for tasting, are prepared.
Japanese: 次に種茶3種類からそれぞれ3つの袋、試飲に出さなかった客茶1種類から1つの袋の合計10袋の茶袋を作る。
English: Ten cups of tea are made from these bags to be offered in random order to the participants.
Japanese: そこから点てた10服分の茶を順不同に参加者に提供してこれを飲ませる。
English: The participants must discern ten cups of 'Ichi-no-cha,' 'Ni-no-cha,' and 'San-no-cha,' which they already tasted, or kyakucha.
Japanese: 参加者は10服の茶が最初に試飲した「一ノ茶」・「二ノ茶」・「三ノ茶」のうちのどれと同じものか、はたまた客茶であるかを回答する。
English: In the above-mentioned 'Hyakufuku-cha' (also known as 'Hyakushu-cha' (literally, "Hundred Kinds of Tea")) of Doyo SASAKI, the competition was held ten times (ten cups of tea multiplied by ten makes a hundred cups of tea).
Japanese: 前述の佐々木道誉の「百服茶」（「百種茶」ともとは10回分の勝負を行った（10服×10回＝100服）ものである。
English: In addition, there were other kinds of tocha such as 'Four Cups of Tea of Two Kinds of Tea Leaf', 'Shiki-cha' (Tea of Four Seasons), 'Tsuri-cha' (literally, "Classification of Tea"), 'Rokushoku-cha' (Tea of Six Colors), 'Keizu-cha' (Tea of Genealogical Chart), 'Genji-cha' (Tea of Genji), etc.
Japanese: これ以外にも闘茶の方法として「二種四服茶」・「四季茶」・「釣茶」・「六色茶」・「系図茶」・「源氏茶」などがあった。
English: But tocha began to decline in the middle of the fifteenth century when the culture was changing into Higashiyama Bunka (Culture of the Eastern Mountain).
Japanese: だが、東山文化へと移行していく15世紀中頃からこうした闘茶は衰退の様相を見せた。
English: As wabicha (literally, "poverty tea style"; known as the tea ceremony) was established by Juko MURATA, Joo TAKENO, and SEN no Rikyu, tocha, which was regarded as a luxurious entertainment or gambling at the time, came to be excluded from Japanese tea ceremony.
Japanese: 更に村田珠光・武野紹鴎・千利休によって侘び茶が形成されていくと、闘茶は享楽的な娯楽・賭博として茶道から排除されるようになっていった。
English: But tocha remained popular among kabuki mono (eccentric people who attracted public attention with their eye-catching clothes, peculiar hairstyle, and weird behavior over the Sengoku period (period of warring states) and the early Edo period) in the form of Kabuki-cha (Tea of Kabuki) (also known as Cha-kabuki (Tea Kabuki)).
Japanese: それでも、闘茶は歌舞伎者らによって歌舞伎茶（茶歌舞伎）として愛好され続けた。
English: Furthermore, some followers of wabicha began to discover new merits of tocha, which was regarded by them as part of training to tell the difference of tea.
Japanese: また侘び茶側でも茶の違いを知るための鍛錬の一環として闘茶を見直す動きが現れた。
English: Tocha was mentioned as 'Cha kafuki' in ''Senke Shichiji Shiki" (Seven-Event Style of House of Sen) which was written in the seventeenth century.
Japanese: 17世紀に作成された『千家七事式』には「茶カフキ」として取り上げられた。
English: Shibai-jaya were tea rooms located in theaters in the Edo period, which served food and beverages to the customers, or what we would now call theater restaurants.
Japanese: 芝居茶屋（しばいぢゃや）とは、江戸時代の劇場に専属するかたちで観客の食事や飲み物をまかなった、今で言う劇場のお食事処。
English: Some kabuki actors who later came to have significant family names in Kabuki were born into the families who were managers or employees of these tea rooms.
Japanese: その経営者や使用人のなかからは、後代に大名跡となる歌舞伎役者も生まれた。
English: There were a number of theater towns in the three main cities of the Edo Period, Tokyo (then called Edo), Kyoto and Osaka, and the nucleus of these were the shibai-goya (theaters) and their accompanying tea-houses.
Japanese: 江戸時代の三都にはそれぞれいくつかの芝居町が存在したが、その中核を成したのが芝居小屋と、それに専属する芝居茶屋だった。
English: The meals served in the theater tea rooms were part of the attraction of watching the theater and on these days people from all walks of life from commoners to feudal lords dined lavishly, enjoying the specialty cuisine of each tea room.
Japanese: 芝居茶屋の食事は芝居見物の楽しみの一つで、この日ばかりは下は庶民から上は大名に至るまで、できる限りの大判振る舞いをして各茶屋自慢の味を堪能した。
English: A number of diaries and letters describing sketches of these tea rooms as well as the menus served remain to remind us of the scenes of the past.
Japanese: こうした芝居茶屋のあらましや、出された献立などは、いくつかの日記や書簡にその詳細が書き残されており、往事の様子を偲ぶことができる。
English: While we refer to them all as shibai-jaya, there were a large variety of tea rooms of all sizes.
Japanese: 一口に芝居茶屋といっても、そこにはピンからキリまでさまざまな種類のものがあった。
English: At Edo's three licensed kabuki theaters, these were classified by scale and rank as follows:
Japanese: 江戸三座ではこれを、規模や格式などをもとに、以下のように分類していた：
English: Oojaya were located in a corner of the theater, or adjacent or opposite the theater, and had a seating area and furnishings, and entertained feudal lords and wealthy people.
Japanese: 芝居小屋内の一角、または隣接地・向い合わせに位置し、座敷や調度品を備えて、諸侯や富裕層を歓待した。
English: They were similar to today's smallest eateries or teishoku (set menu) restaurants, and were classified as middle level or ordinary eating establishments.
Japanese: 今日の小料理屋から定食屋に近い、中級料理屋から一般向け食事処である。
English: Some kojaya (small tea rooms) specialized as take-aways and did not have any seating for customers, and these tea rooms used dekata (ushers) to deliver food to customers.
Japanese: 小茶屋のなかには、接客用の店構えのない出前専門のものもあり、こうした茶屋では出方とよばれる接客業者を専属で抱えていた。
English: Dekata (ushers) showed customers to their seats and brought them food, lunchboxes or snacks made in the tea rooms.
Japanese: 出方は訪れた観客を座席まで案内したり、仕出し茶屋でこしらえた小料理・幕の内弁当・酒の肴などを座席に運んだりした。
English: According to records from 1764-1771, at the theater district around Edo's three licensed theaters in Sakai-cho and Fukiya-cho, the Nakamura-za theater was surrounded by 16 oojaya (large tea rooms) and 15 kojaya (smaller tea rooms), the Ichimura-za theater had 10 oojaya and 15 kojaya and Morita-za theater had 7 oojaya and they all did roaring trade.
Japanese: 明和(1764–71)の記録によると、江戸三座堺町・葺屋町の芝居町では、中村座が大茶屋16軒と小茶屋15軒を従え、市村座が大茶屋10軒と小茶屋15軒を従え、一方江戸三座木挽町の芝居町では、森田座が大茶屋7軒を従えて、それぞれ盛況だったという。
English: As a result, naturally the children of the tea rooms had access to the theaters and it wasn't unusual for these children to learn the art and become actors themselves.
Japanese: このため自然その子弟が芝居小屋に出入りするようになり、そうした者のなかには芸に目覚てそのまま役者になってしまう者も珍しくはなかった。
English: The list of kabuki stage family names chosen by these actors indicates that they often used the names of their family's tea room or the shop name of the usher.
Japanese: こうした役者が新たに選んだ歌舞伎役者の屋号一覧は、その多くが実家の芝居茶屋や出方の屋号を転用したものだった。
English: Later on, for a variety of reasons, there were also examples of the reverse happening as distinguished kabuki acting families had their children adopted by the tea rooms.
Japanese: 後代になると、さまざまな事情により、歌舞伎の門閥の方から芝居小屋の方に逆に養子を送り込んでくるという事例も出てくる。
English: Among family names created in this way, there are many significant family names that have been passed down in an unbroken line to the present day.
Japanese: こうしてできた名跡のなかには、大名跡として今日にまで連綿とその名が続いているものも少なくない。
English: He inherited the proprietorship of the Ichimura-za theater because his mother was an elder sister of Uzaemon ICHIMURA, and he later became an actor and adopted the name Uzaemon ICHIMURA (VIII).
Japanese: 母が市村羽左衛門の姉だった縁で市村座の座元（所有権）を継承、のちに役者にも転じて八代目市村宇左衛門を襲名した。
English: As well as borrowing the shop name of the tea room, he also changed the characters he used to write the name Uzaemon to those used in his uncle's name.
Japanese: 八代目は実家の屋号をそのまま借用したほか、名跡「市村宇衛門」の字をあらためて「市村羽衛門」としている。
English: Background: He was born to the tea room of Kanjuro IZUMIYA attached to Edo's Nakamura-za theater, although it was said that he was really the son of Danjuro ICHIKAWA (II).
Japanese: 背景の事情：江戸中村座の芝居茶屋・和泉屋勘十郎の子として生まれる（ただし実は市川團十郎(2代目)の実子だったともいう）。
English: Background: He was born to Hanpei OTOWAYA who was an usher at the Miyako Mandayu-za theater tea room in Kyoto.
Japanese: 背景の事情：京都の都萬太夫座（みやこまんだゆうざ）の芝居茶屋の出方を営んでいた音羽屋半平の子として生まれる。
English: Background: He was the child of Danjuro ICHIKAWA (V) however as he was illegitimate, he was adopted for a while by his father's cousin Kanjuro of the Izumiya tea room affiliated with the Nakamura-za theater, and then later on was adopted by Danjuro ICHIKAWA (V) and succeeded to the Ichikawa lineage.
Japanese: 背景の事情：市川團十郎(5代目)の実子だが、庶子だったため、いったん五代目の従弟にあたる中村座の芝居茶屋・和泉屋勘十郎の養子となり、後改めて五代目團十郎の養子となって市川宗家を継いだ。
English: Background: He was born to Chokichi HAMAZAKI, an usher at the tea room called Izumiya which was attached to the Ichimura-za theater.
Japanese: 背景の事情：市村座の芝居茶屋・泉屋の出方を営む濱崎長吉の子として生まれる。
English: He polished his art as a student of Sojuro SAWAMURA and later succeeded to the lineage and took the name Sojuro SAWAMURA (V).
Japanese: 澤村宗十郎の門人として芸を磨き、のち宗家を継承して五代目澤村宗十郎を襲名した。
English: Background: He was born as the son of a carpenter in Osaka and was adopted by Shobei of the Kawachiya tea house when he was three years old.
Japanese: 背景の事情：大坂の大工の子として生まれ、三歳のとき芝居茶屋・河内屋庄兵衛の養子となる。
English: He later became a student of Gakujuro JITSUKAWA and then was highly valued and adopted by Kikugoro ONOE (IV) to take the name Baiko ONOE, and was regarded as successor to the Otowaya stage family name.
Japanese: のち實川額十郎の門人となり、さらに尾上菊五郎(4代目)に認められて養子となり尾上梅幸を襲名、音羽屋の後継者に擬せられる。
English: However, after the death of his adopted father, he was thrust out of the ONOE family and returned to Osaka where he took the name Enjaku which was the pen name of his teacher Gakujuro, and became Enjaku Jitsukawa (I).
Japanese: しかし養父の死後尾上家から離縁されたため、大坂に戻って師匠・額十郎の俳名だった延若を名乗り、初代實川延若を襲名した。
English: At this time, rather than using the stage family name of his teacher which was 'Izutsuya,' he used the family name 'Kawachiya' from his home.
Japanese: この際、師匠の屋号「井筒屋」は使わずに、あえて実家の屋号「河内屋」を転用した。
English: Background: He was born to Kodanji ICHIKAWA (IV) however Kodanji already had an adopted child called Sadanji ICHIKAWA (I) and he was not keen to make him an actor.
Japanese: 背景の事情：市川小團次(4代目)の実子として生まれたが、すでに小團次には養子の市川左團次(初代)がおり、これをあえて役者にする気はなかった。
English: Soon after birth, Udanji was ostensibly sent to the shibai-jaya Tsuruya in Osaka's Dotonbori district as an apprentice, however in actuality he was adopted by the tea room.
Japanese: そこで生後間もなく大坂道頓堀の芝居茶屋・鶴屋に丁稚奉公に出されるが、実際は体よく養子に出されたようなものだった。
English: However as Udanji grew older he failed to show any interest in the trade, and as he failed to do much except copy the stage actors he was sent back to his home and turned to his beloved acting.
Japanese: しかし成長しても商いには興味を示さず、芝居の真似事ばかりしていたので実家に追い返され、晴れて役者に転身。
English: The stage family name he chose when he later took the name Udanji ICHIKAWA was 'Tsuruya,' which he borrowed from the name of the family in which he was raised.
Japanese: のち初代市川右團次を襲名する際に屋号に選んだ「鶴屋」は養育家の屋号を転用したもの。
English: Some time later he changed to the stage family name of his own family 'Takashimaya,' however in deference to his adopted brother Sadanji (I) and his younger half brother Kodanji ICHIKAWA (V), he used a different character to write the character for 'shima' in 'Takashimaya'.
Japanese: やがて実家の屋号「高島屋」に改めることにしたが、養兄初代左團次や異母弟の市川小團次(5代目)に遠慮して、｢島」の字を「嶋」に差し替え「高嶋屋」とした。
English: He took the name Tanosuke SAWAMURA (III) as a brilliant actor of female roles and in the following year when he was only 16 he took leading roles and became the top performer of female roles in the Ogosho Period (1787 - 1841); however after a stage accident gangrene set in and he had to have his legs amputated, and was forced to retire from acting.
Japanese: 天才女形として三代目澤村田之助を襲名、翌年には16歳にして立役となるなど、大御所時代における女形の第一人者だったが、間もなく舞台上の事故から脱疽を患い四肢を切断、役者引退を余儀なくされた。
English: After retiring, he set up and ran a tea room called Kinokuniya and in the Meiji Period this grew to become the Sawamura-za Theater.
Japanese: 引退後は芝居茶屋・紀伊國屋を立ち上げてその経営にあたり、明治初年にはこれを芝居小屋・澤村座に発展させている。
English: Background: He was born into the tea room Yamazakiya attached to the Meiji-za Theater in Nihonbashi, Chuo-ward, Tokyo.
Japanese: 背景の事情：日本橋(東京都中央区)明治座の芝居茶屋・山崎屋の子として生まれる。
English: He became an actor as a student of Danjuro ICHIKAWA (IX) and then trained in Osaka as a student of Nizaemon KATAOKA (XI).
Japanese: 市川團十郎(9代目)の門人として役者になり、後に片岡仁左衛門(11代目)の門人となって大坂で修業。
English: After returning to Tokyo, he succeeded to the former name of his teacher Danjuro (IX) and took the name Gonjuro KAWARASAKI (II).
Japanese: 帰京の後師匠・九代目團十郎の前名を継承して二代目河原崎権十郎を襲名した。
English: Background: Karoku NAKAMURA (III) was married to Kame, the daughter of Kichiemon OGAWA who ran the Yorozuya tea room affiliated with the Ichimura-za theater.
Japanese: 背景の事情：中村歌六(3代目)の妻は、市村座の芝居茶屋・萬屋を営む小川吉右衛門の娘・かめだった。
English: Karoku (III) (real name Tokizo NAMINO) and Kame OGAWA had four sons however of these only three survived including Kichiemon NAKAMURA (I) (real name Tatsujiro NAMINO), Tokizo NAKAMURA (III) (real name Yonekichiro OGAWA) and Kanzaburo NAKAMURA (XVII) (real name Seiji NAMINO).
Japanese: この三代目歌六（本名：波野時蔵）と小川かめの間には四男が生まれたが、このうち成長したのは中村吉右衛門(初代)（本名：波野辰次郎）、中村時蔵(3代目)（本名：小川米吉郎）、中村勘三郎(17代目)（本名：波野聖司）の三人だった。
English: The middle child Tokizo (III) for some reason favored his mother's side of the family and identified himself as OGAWA, and wished to create a new family independent of his father's 'Harimaya', however this was not to be realized during his lifetime.
Japanese: 真ん中の三代目時蔵はどうした訳か母の実家に愛着があり、自ら母方の姓・小川を名乗ったばかりか、父方の「播磨屋」から独立して新たに一家を起したいと考えていたが、生前それは実現しなかった。
English: Then two generations later, in 1971, his grandson Tokizo (V), together with colleagues and students of Ogawa family that was descended from Tokizo (III), seceded from 'Harimaya' and newly took the name 'Yorozuya'.
Japanese: その後二世代を経て、1971年、孫の五代目時蔵は、三代目時蔵を祖とする小川家一門を引き連れて「播磨屋」を去り、新たに「萬屋」を名乗った。
English: Thus after 80 years, Yorozuya, the name of the household of their great-grandmother was once again used as a stage family name (kabuki).
Japanese: 曾祖母の実家の屋号・萬屋が、80年を経てここに歌舞伎屋号として甦った。
English: Mekabu seaweed is the thick, folded part of the phyllodes of wakame seaweed (Undaria pinnatifida) that is located above its appressoria.
Japanese: メカブ（和布蕪）は、ワカメの付着器の上にある、葉状部の中で厚い折れ重なってひだ状になった部分である。
English: Wakame seaweed is seaweed and does not have a root but, in plain terms, mekabu seaweed is also described as the 'roots of wakame seaweed.'
Japanese: ワカメは海藻なので根はないが、通俗的には「ワカメの根元部分」とも表現される。
English: Since it is slimy and its shape is significantly different from blades, mekabu seaweed is sometimes misunderstood as a part of or a type of sea kelp.
Japanese: ぬめりが多いことや葉状部とは大きく形が異なることからコンブの一部あるいは一種と誤解されることもある。
English: Because mekabu seaweed contains richer viscous components derived from soluble fibers such as alginic acid and fucoidan as well as minerals and unsaturated fatty acids including eicosapentaenoic acid than wakame fronds, it is occasionally consumed as health food but its medical values has yet to be adequately substantiated to date.
Japanese: アルギン酸やフコイダンなどの水溶性食物繊維に由来するぬめり成分やミネラル、エイコサペンタエン酸などの不飽和脂肪酸を葉状部よりも多く含むため、健康食品として摂取されることもあるが、必ずしも十分な医学的根拠を得るには至っていない。
English: Mekabu seaweed is used as an ingredient for shampoo, soap and skin care products that are available in the market.
Japanese: その他メカブの成分を使用したシャンプーや石鹸、化粧品なども発売されている。
English: In ancient times, mekabu seaweed was referred to as manakashi (seaweed roots) being prized as a second-best tribute after nori (dried sheets of laver seaweed).
Japanese: 古代には海藻根（まなかし）と呼ばれ、貢物として海苔に次ぎ珍重されていた。
English: After the Medieval Period, the reference to 'manakashi' disappeared from archives but, instead, 'mekabu' began to be mentioned as a product of some regions.
Japanese: 中世以降になると中央文書からは姿を消すが、代わりに地方産物として「メカブ」の名で登場するようになる。
English: Depending on the region, there are various terms which mekabu seaweed is referred to as including 'mimi,' 'nekabu,' 'kabu,' and 'mehibi.'
Japanese: 地域により「ミミ」「ネカブ」「カブ」「メヒビ」などさまざまな呼称がある。
English: Blanch mekabu seaweed in a pot of boiling water until the color turns from brown to green and transfer the seaweed into a bowl of cold water.
Japanese: 調理の際は軽く湯通しをし、色が褐色から緑色に変わったところで冷水に取る。
English: After this process, mekabu seaweed will be finely chopped and will be used for food whereby it is mixed with soy sauce, noodle sauce or other condiments and served over the rice or it is added to soup.
Japanese: その後は包丁などで細かく刻み、醤油やめんつゆ、その他の薬味を混ぜ飯にかけて食べられたり、吸い物などスープに入れられたりする。
English: Mekabu seaweed is sometimes eaten in combination with other viscous foodstuffs such as natto (fermented soybeans), nagaimo (Dioscorea opposite), okra or eggs and, in addition, is occasionally cooked according to recipes developed for those foodstuffs.
Japanese: 同じく粘りのある納豆やナガイモ、オクラ、鶏卵などの食材と合わせることや、調理法が応用されることもある。
English: In addition to raw mekabu seaweed, it is also possible to get dried mekabu seaweed, which can be prepared quickly, and seasoned mekabu seaweed, which comes in packs.
Japanese: また生のもの以外に、より手軽に食べられる乾物のものや味付け加工されたパック詰めのものも販売されている。
English: The term 'machiya' specifically refers to the townscape consisting of merchant houses (houses of merchants and craftspeople that is a combination of family residence and shop) which was formed during the Edo period through the beginning of the Showa period.
Japanese: 特に江戸時代から昭和のはじめ頃までに形成された、商家（しょうか、商いの場や仕事の場を兼ねた商人や職人の家）の街並みをさす。
English: There were merchant houses in post-station towns, but they were often built in castle towns forming a contrast with samurai residences.
Japanese: 町屋は宿場町にもあったが、特に城下町でこれが形成されることが多く、武家屋敷と対比をなしていた。
English: In the major castle towns such as Kyoto and Kanazawa, those merchant houses that were built on deep and narrow lots were also referred to as eel's nest.
Japanese: その中でも京都や金沢などの大城下町では特に奥行が深く、極端な短冊の敷地に建てられた町屋は「うなぎの寝床」などと呼ばれることもあった。
English: In those merchant houses, rooms were placed one after the other to form a near single line filling the deep and narrow lots.
Japanese: 実際にはその長い敷地に部屋が次々と一列に近いかたちで奥まで続いていた。
English: In the medieval period, merchant houses were usually one-storied with a gabled shingle-roof and clay walls, whereas, in the early Edo period, those with low-ceilinged second floor (tsushi nikai or loft) and sodeudatsu (extensions of the gable parapet walls that fill the trapezoidal space between the overhanging eaves of the main roof and the pent roof) became standard and houses with tile roofs and stucco walls appeared in the end of the 1600s.
Japanese: 中世では通常、平屋で板葺き切妻屋根に土壁の家屋が建てられ、江戸初期には、建ちの低い2階（厨子二階〈つしにかい〉）を備え、袖卯建（そでうだつ）を上げた家屋が標準化し、瓦葺き、漆喰塗籠めの壁を持つ町屋は1600年代末に現れる。
English: Since it was considered to be disrespectful to look down on processions of feudal lords, the loft was allowed to be built and used as a storage and not as a living space.
Japanese: 大名の往来を上から見下ろすことが失礼に当たるということから居間としてではなく物置として造り、使うことが許可されていた。
English: Since the Meiji period, two-storey merchant houses with the ceiling height similar to that of modern houses began to be built along main streets, and three-storey merchant houses and kanban kenchiku (typically, a two-story frame building serving dual purposes as a merchant residence and shop) also appeared.
Japanese: 明治以降は、現在の家屋ほどの天井高の2階をもつ住宅が表通りでも建てられるようになり、三階建の町屋や看板建築も現れた。
English: In cities where many merchant houses still remain, there has been a significant revaluation of these houses that seem to epitomize Japanese ingenuities and the idea of space.
Japanese: 今日町屋が残る多くの都市では、日本人の生活の知恵と空間の理念が凝縮されたようなこの町屋の再評価の動きが顕著である。
English: In recent years, in particular, instead of tearing them down, the trend to restore and renovate aging merchant houses to reuse as residences or lodging facilities has been on the rise.
Japanese: 特に近年では老朽化した町屋を取り壊さずに修復・改装して、自宅や宿泊施設として再利用するケースが増えている。
English: Row houses were designed to have a doma (a dirt floor space that functions as a foyer and kitchen) directly inside the entrance and two rooms at most, whereas, although the frontage of merchant houses was no wider than approximately 12 to 18 feet, they were usually somewhere around 120 feet deep even in Edo (old Tokyo) where merchant houses were less common than in the Kansai District.
Japanese: 入口を入るとすぐに土間で、そこにせいぜい2部屋がついた長屋とは違い、町屋の間口は2間から3間ほどであったものの、奥行は町屋の普及が関西よりやや低調だった江戸でも20間ぐらいは普通にあったといわれる。
English: The typical floor plan of a merchant house included an earth floor space that ran the entire length of the house on one side and rooms lined up on the other side.
Japanese: 表から奥まで「通し土間」という土間を通し、一方に部屋をほぼ一列に並べた間取りが標準的であった。
English: In the center of the property, a courtyard (spot garden) was installed for the improved ventilation and lighting.
Japanese: 敷地の中央に中庭（坪庭〈つぼにわ〉）を置くことで、通気性と採光を口上させた。
English: The courtyard also functioned as a garden where rocks and plants were put in, providing the private space in the property as opposed to the public space facing the street.
Japanese: 一方で、そこに石や植物などを配した庭をつくり、通りに面した「公」の空間と奥の「私」の空間を巧みに区分けすることにも成功している。
English: Konnyaku (scientific name: Amorphophallus konjac) refers to an herb of the Araceae family or a food derived from the plant's bulb.
Japanese: コンニャク（蒟蒻、菎蒻、学名：Amorphophalluskonjac）とはサトイモ科の植物、あるいはその球根から製造される食品のことである。