nntsuzu/KFTT huggingface dataset:
English: After World War II, the power of insisting on the uniqueness of Japanese history has become weak, and the power of taking the social science-based views of trying to find universality in history has become major.
Japanese: 第二次世界大戦後は、日本の歴史の独自性を主張する立場は大きく後退し、歴史に普遍性を見出そうとする社会科学的な立場が主流となった。
English: After the war, history has been released from the restrictions of nationalistic views of history and has achieved many important results.
Japanese: 国家主義的な歴史観のくびきから解かれた戦後史学は多くの重要な実績を残した。
English: However, positivism-based history has a weak point that it treats philosophy of history lightly, and materialistic view-based history has also a weak point in that it has the tendency of becoming dogmatic.
Japanese: しかし、実証主義には歴史哲学を軽視するという弱点が、唯物史観には教条的になりがちという弱点があった。
English: In 1979 and later, reviews of history in the era after the war started, and in particular, the vigorous activities concerned have been accelerating.
Japanese: 1970年代からは、戦後歴史学に対する反省と見直しが始まり、1980年代からは特に精力的な取り組みが加速していった。
English: Stating in this era, the attempts to reflect folklore and cultural anthropology, which had been little considered until then, in history academically have become active.
Japanese: この時期からは、従来あまり顧みられていなかった民俗学や文化人類学などの成果を歴史学へ学際的に反映させる試みが積極的に行われている。
English: Because of these investigations of history, many results that are largely different from well-known images of history have been reported: Yoshihiko AMINO is a typical researcher reporting such results.
Japanese: これらの歴史研究の結果、人口に膾炙した歴史像を大きく覆すような成果が多数発表されており、網野善彦などがその代表として挙げられる。
English: On the other hand, it has begun to be pointed out recently that the images of history possessed by the general public have become increasingly diversified from recent research results.
Japanese: 反面、一般の間の歴史像と近年の研究成果との乖離が広がっていることも近年指摘され始めている。
English: On the other hand, history has become increasingly more popular after the war, and historical novels, for example, by Chogoro KAIONJI and by Ryotaro SHIBA, have been read widely.
Japanese: 他方で戦後は歴史の大衆化が進み、海音寺潮五郎や司馬遼太郎など歴史小説の流行した。
English: Furthermore, a phenomenon that can be said a history boom, for example, popular and hot disputes about Yamatai-koku kingdom, has been generated, with theories lacking academic reliability (for example, the theory of Kyushu dynasty) gaining a certain amount of support as well.
Japanese: または邪馬台国論争の隆盛のように歴史ブームというべき現象も起きており、学術的信頼性のない説（九州王朝説など）も一定の広がりを見せている。
English: In addition, the power of strongly insisting on the uniqueness of Japanese history, which has become considerably weaker after the war, has insisted its views as liberalism-based views of history.
Japanese: さらに、戦後大きく後退していた日本の歴史の独自性を強調する立場が、平成初年頃から自由主義史観と称してその主張を展開している。
English: Each of these examples have not reached the level called history, but the interests of the general public in history can be recognized.
Japanese: これらはいずれも歴史学と呼びうるレベルにはないが、一般の歴史に対する関心の反映として認識することができる。
English: It has been treated as Japan's National Anthem since the Meiji Period even before it was officially recognized by the Law Regarding the National Flag and Anthem in 1999.
Japanese: 1999年（平成11年）に国旗及び国歌に関する法律で公認される以前の明治時代から国歌として扱われてきた。
English: This anthem consists of words derived from a waka poem made during the Heian Period and the melody composed by Hiromori HAYASHI during the Meiji Period.
Japanese: この曲は、平安時代に詠まれた和歌を基にした歌詞に、明治時代に林広守が作曲した。
English: The words of Kimigayo were derived from a waka poem in the "Kokin-Wakashu" compiled in the tenth century.
Japanese: 君が代は10世紀に編纂された『古今和歌集』に収録されている短歌の一つである。
English: The national anthem was born in the modern Occident and, when Japan opened the country to foreigners in the last days of the Edo Period, it had become indispensable for diplomatic ceremonies.
Japanese: 国歌は、近代西洋において生まれ、幕末、日本が開国した時点において、外交儀礼上欠かせないものとなっていた。
English: We can have a glimpse of the plight of the national anthem in the following part of the written report for revising the musical score of "Kimigayo" submitted to the Chief of the Bureau of Naval Affair in 1876 by Suketsune NAKAMURA, who was the Kapellmeister of the Imperial Japanese Navy.
Japanese: そういった国歌の有り様は、1876年（明治9年）に、海軍楽長・中村裕庸が海軍軍務局長宛に出した「君が代」楽譜を改訂する上申書の以下の部分でもうかがえる。
English: "In the case of grand ceremonies held when official diplomats visit (in the Occidental countries), every country plays the musical score (of their national anthem) as an indispensable sign to represent prosperity as an independent country and show the dignity of the sovereign ruler."
Japanese: 「（西洋諸国において）聘門往来などの盛儀大典あるときは、各国たがいに（国歌の）楽譜を謳奏し、以てその特立自立国たるの隆栄を表認し、その君主の威厳を発揮するの礼款において欠くべからざるの典となせり」
English: In other words, the necessity of a national anthem is generated by a military band on the occasion of extending diplomatic courtesy and, even today, there are national anthems that have no words like Spanish National Anthem, Marcha Real.
Japanese: つまり国歌の必要性は、まずなによりも、外交儀礼の場において軍楽隊が演奏するために生じるのであり、現在でも例えばスペイン国歌・国王行進曲のように、歌詞のない国歌も存在する。
English: As wind-instrument music originally belonged to the Occident, however, it was not accustomed in Japan in the beginning of the Meiji Period and, at first, there were no words to translate "national anthem."
Japanese: しかしそもそも吹奏楽は西洋のものであって、明治初年の日本ではなじみがなく、当初はNationalanthemの訳語もなかった。
English: Even after it was translated as "kokka," because the word "kokka" had been used in the same meaning as "waka," the meaning of poem in Japanese language opposing to kanshi (Chinese-style poem) prevailed and the meaning of national anthem could not be understood by people in general.
Japanese: 国歌と訳した後も、国歌は和歌と同義に使われていた言葉であったため、長らく漢詩に対するやまと言葉の国歌という意味の方が浸透した状態で、Nationalanthemの意味するところは、なかなか国民一般の理解するところとならなかった。
English: Because it is understood that waka is national literature, in Japan in general, the words had importance more so than melody.
Japanese: こういった、和歌を国民文学とする意識からすれば、日本においては一般に曲よりも歌詞の方が重要視された。
English: Sakunosuke KOYAMA, who was the first person to have studied the details of establishing Kimigayo as the national anthem and wrote "Kokka Kimigayo no Yurai (literally, Origin of Kimigayo, Japan's National Anthem)" as his posthumous work started his study from consideration on words.
Japanese: 国歌君が代制定の経緯を初めて研究し、遺作として『国歌君が代の由来』を残した小山作之助も、まずは歌詞についての考察から始めている。
English: It is often said that the origin of the words in Kimigayo is the "Kokin-Wakashu" (Volume seven of Kokin-Wakashu, gaka (celebration poetry), first waka, title not known, author not known, Kokka Taikan (Comprehensive National Poems - No. 343), but, the first line of the text in Kokinshu is "Wagakimiha (literally, 'my lord')" which does not coincide completely with the presently adopted form.
Japanese: 歌詞の出典はしばしば『古今和歌集』（古今和歌集巻七賀歌巻頭歌、題しらず、読人しらず、国歌大観番号343番）とされるが、古今集のテクストにおいては初句を「わが君は」とし、現在採用されているかたちとの完全な一致は見られない。
English: We can say that the oldest example of the form of "Kimigayoha" appears in the version of "Wakanroeishu (Japanese and Chinese poems to sing)" at the beginning of the Kamakura Period (巻下祝, Kokka Taikan No. 343).
Japanese: 「君が代は」の型は『和漢朗詠集』の鎌倉時代初期の一本に記すものなどが最も古いといえる（巻下祝、国歌大観番号775番）。
English: Even with respect to Wakanroeishu, it is written as "wagakimi" in old manuscripts, but, in printed books of the later age, it is written as "kimigayo" in many books.
Japanese: 和漢朗詠集においても、古い写本は「我が君」となっているが、後世の版本は「君が代」が多い。
English: With respect to this change from "wagakimi" to "kimigayo," waka with the first line "wagakimi" is hardly seen other than in Kokin-Wakashu and Kokin Waka Rokujo (six volumes of Japanese poetry written in the middle of the Heian period) and, in poetry anthologies in the later age, overwhelmingly large number of wakas begin with the first line "kimigayo."
Japanese: この「我が君」から「君が代」への変遷については、初句「我が君」の和歌が、古今和歌集と古今和歌六帖以外にはほとんどみられず、以降の歌集においては初句「君が代」が圧倒的に多い。
English: Therefore, it is surmised that, in line with the trend of the times, direct expression, "wagakimi," in the gaka might be replaced with the indirect expression "kimigayo."
Japanese: そのため、時代の潮流で、賀歌の「我が君」という直接的な表現が、「君が代」という間接的な表現に置き換わったのではないか、と推測されている。
English: In Kokin Waka Rokujo, the first three lines of waka is "wagakimiha chiyonimashimase (literally, "my lord may live a thousand years) and also in a certain old manuscript of Kokin-Wakashu, it is written "mashimase."
Japanese: なお、古今和歌六帖では、上の句が「我が君は千代にましませ」となっており、古今和歌集も古い写本には「ましませ」となったものもある。
English: As in certain manuscripts, it is separated at "ya" as "chiyoniya chiyoni," there is a view that it is repetition as "chiyoniya chiyoni (literally, 'thousand years, and thousand years."
Japanese: また写本によっては、「ちよにや　ちよに」と「や」でとぎれているものもあるため、「千代にや、千代に」と反復であるとする説も生まれた。
English: Because the original poem of Japan's National Anthem is a gaka in Kokin=Wakashu, it is often discussed whether or not "kimi (literally, 'lord'") in "wagakimi" means the emperor.
Japanese: 国歌の原歌が、古今和歌集の賀歌であるため、そもそも「我が君」の「君」が天皇であるのかどうか、ということがしばしば問題にされる。
English: According to the general interpretation of "kimi" in poems compiled in Kokin-Wakashu, the word "kimi is used in a broad sense and it does not necessarily mean the emperor," and nothing can be said for sure about anything more than that.
Japanese: 古今和歌集収録の歌として、ごく一般的な「君」の解釈を述べるならば、「君は広くもちいる言葉であって、天皇をさすとは限らない」ということであり、それ以上はなにも断定できない。
English: In Volume seven of the Kokin-Wakashu, eighteen wakas out of twenty-two gaka were made on the occasion of concrete celebrations of specific individuals (most of them for longevity, but some were for celebrating birth.), the author is not known for the first four wakas and they seem to have been made in an older time and under a situation which is not known.
Japanese: ところで、古今和歌集巻七の賀歌22首のうち18首は、特定の個人の具体的な祝い（ほとんどが算賀だが出生慶賀もある）に際して詠まれたものだが、最初の4首は読み人知らずで、作歌年代も古いと見られ、歌が作られた事情もわからない。
English: Therefore, we can also understand that this "kimi" does not mean any specific individual person, but this waka was included as an anthem to celebrate the longevity of the reigning lord (the emperor at the time of Kokin-Wakashu) and was dedicated to his reign.
Japanese: したがって、この「君」は特定の個人をさすものではなく、治世の君（古今和歌集の時代においては帝）の長寿を祝し、その御世によせる賛歌として収録されたものとも考えられる。
English: This consideration applies only to the waka adopted as gaka in Kokin-Wakashu, however, and, as far as "Wakanroeishu" is concerned, because the "roei (to recite)" means to chant and it is important under what situation it was chanted.
Japanese: しかしこれは、あくまでも古今和歌集賀歌として収録されたこの歌への考察であり、『和漢朗詠集』になってくると、朗詠は詠唱するものであり、どういう場で詠唱されたかという、場の問題が大きく出てくる。
English: In addition, it will be described below that, in later ages, the first line was changed to "kimigayoha" and, as the waka was disseminated in society in various forms, situations under which the waka was chanted varied and the situations related to interpretation were changed.
Japanese: さらに後世、初句が「君が代は」となり、さまざまな形で世に流布されるにつれ、歌われる場も多様となり、解釈の状況が変わっていくことは後述する。
English: By the way, even under such situations, there was a commentary that definitely concluded that "kimi" in this waka was the emperor.
Japanese: ちなみに、そういった後世の状況の中にあっても、はっきりこの歌の「君」が天子である、とする注釈書も存在する。
English: It is "古今和歌集陰名作者次第" by 堯智 compiled in the Volume of the Zoku Gunshoruiju (The Collection of Historical Sources, second series).
Japanese: 続群書類従第十六輯に収められた堯智の『古今和歌集陰名作者次第』である。
English: 堯智 referred to TACHIBANA no Kiyotomo and said that the first line read "Kimigayo" and explained that it meant "my lord reigns over the whole world."
Japanese: 堯智は、橘清友の名を出して、初句を「君か代ともいうなり」とし、「我が大君の天の下知しめす」と解説している。
English: Therefore, we can say for sure that, at least in the middle of the seventeenth century, namely during the early part of the Edo Period, there was an interpretation that the poem in question was for celebrating the reign of the emperor and wishing his reign would last long.
Japanese: したがって、少なくとも17世紀半ば、江戸時代前期において、天皇の御世を長かれと祝賀する歌である、とする解釈が存在したことは確かである。
English: Not limited to Kokin-Wakashu, if we look at gaka adopted for Chokusenshu (anthology of poems collected by Imperial command), the word "kimi" means the emperor in most cases, in more recent years.
Japanese: 古今和歌集に限らず、勅撰集に収められた賀歌についてみるならば、「君」の意味するところは、時代がくだるにつれ天皇である場合がほとんどとなってくる。
English: It was because the state of gaka in Chokusenshu changed and waka for celebrations reflecting real life such as longevity gradually disappeared being replaced with daieika (ancient poems composed under assigned titles) and Daijoe waka (poem composed at the royal ceremony).
Japanese: 勅撰集の賀歌の有り様が変化し、算賀をはじめ現実に即した言祝ぎの歌がしだいに姿を消し、題詠歌と大嘗祭和歌になっていくからである。
English: Such tendency became conspicuous during the insei period (during the period of the government by a retired Emperor), and they say that it could be because it was necessary to emphasize existence of the emperor in Chokusenshu during the period in which the dynasty negated regency and moved toward conflicts with the power of the samurai.
Japanese: こういった傾向は、院政期に入って顕著になってくるもので、王朝が摂関政治の否定、そして武家勢力との対決へと向かう中で、勅撰集において天皇の存在を大きく打ち出していく必要があったのではないか、とされている。
English: In further more recent years, during the Edo Period, this waka was sung among common people in general at parties as a song for celebration.
Japanese: 更に時代が下り江戸時代頃には、この歌は一般的な祝いの席で祝いの歌として庶民の間でも歌われるようになった。
English: For example, when sung during a marriage ceremony, "kimi" meant the bridegroom and the waka was sung as a song to cerebrate and make a wish for longevity of the bridegroom and peace in the family.
Japanese: 例えば婚儀の席で歌われるときは「君」とは新郎のことを指し、すなわち新郎の長寿と所帯の安息を祝い祈願する歌として用いられた。
English: In "Horaisan" which is a song for Satsuma biwa (Satsuma lute) in such period, there is a song that has the same words as the present Kimigayo and therefore the view that the words of the present "Kimigayo" was taken from this song by a person from Satsuma during the Meiji Period is prevailing (refer to the following section).
Japanese: この時代の薩摩琵琶の歌のひとつである『蓬莱山』に現在知られるものと同じ歌詞のものが見られ、よって現在の「君が代」は、明治期に薩摩人がここから採ったものとする説が有力である（次節も参照）。
English: By the way, words in "Shogaku Shokashu Shohen (Collection of songs for elementary school, First Version)" (issued in 1881) edited by the Ministry of Education (current Ministry of Education, Culture, Sports, Science and Technology) is longer than the current one and it has the second verse.
Japanese: 因みに、文部省（現在の文部科学省）が編集した『小学唱歌集初編』（明治21年（1881年）発行）に掲載されている歌詞は、現在のものよりも長く、2番も存在する。
English: With respect to composition, it is written in "Shogaku Shokashu Shohen" as "an old song by Webb, who was a virtuoso in ancient Great Britain.
Japanese: 作曲は『小学唱歌集初編』には「英国古代の大家ウェブの古歌」と記されているが、詳細は不明。
English: Reign of Your Majesty will not change for thousands of years until pebbles gather to form a rock and wears moss and has no end.
Japanese: 君が代は千代に八千代にさざれ石の巌となりて苔のむすまでうごきなく常盤かきはにかぎりもあらじ
English: We celebrate the prosperity of the reign of Your Majesty and that it has no end and continues until pebbles in the deep sea bed appear on the shore where cormorants live.
Japanese: 君が代は千尋の底のさざれ石の鵜のゐる磯とあらはるゝまでかぎりなき御世の栄をほぎたてまつる
English: "Pebbles gather to form a rock" in the latter half reflects knowledge of the period when the Kokin-Wakashu was compiled and the idea that sand and pebbles gather together to form a rock and existence of pebbles were thought as evidence of this idea.
Japanese: 後半の「さざれ石の巌となりて」は、砂や石が固まって岩が生じるという考え方と、それを裏付けるかのような細石の存在が知られるようになった『古今和歌集』編纂当時の知識を反映している。
English: John William Fenton who was the military bandmaster for the infantry battalion of the convoy attached to the British Legation advised to the military band of the Satsuma Domain established in 1869 to prepare a national anthem or ceremonial music.
Japanese: 明治2年（1869年）に設立された薩摩藩軍楽隊の隊員に対し、イギリス公使館護衛隊歩兵大隊の軍楽隊長ジョン・ウィリアム・フェントンが国歌あるいは儀礼音楽を設けるべきと進言した。
English: Yasuke OYAMA, who was at that time the commander of the infantry of the Satsuma Domain, (later Iwao OYAMA, who was a marshal of the Imperial Japanese Army) received the request from the squad leader of the military band of the Satsuma Domain, who acted in response to the advice, and the words were adopted from Oyama's favorite song (Also, refer to the preceding clause).
Japanese: それを受けた薩摩藩軍楽隊隊員の依頼を当時薩摩藩歩兵隊長である大山弥助(後の大山巌、日本陸軍元帥)が受け、大山の愛唱歌より歌詞が採用された（前節も参照）。
English: It is also said that the words were selected using the British National Anthem as a model because almost all modernization of Japan at that time was carried out after the model of Great Britain, which was the biggest imperial monarchy in the world at that time.
Japanese: 当時日本の近代化のほとんどは当時世界一の大帝国だったイギリスを模範に行っていたため、歌詞もイギリスの国歌を手本に選んだとも言われている。
English: According to "Chikuhaku Manpitsu" by Nobutsuna SASAKI, on the occasion of Emperor Meiji's visit to Kansai, the French Army requested the Imperial Japanese Navy to teach them Japan's National Anthem in order to play on the occasion of the Emperor's visit.
Japanese: 佐佐木信綱が記した『竹柏漫筆』によると明治天皇が関西へ行幸する際、フランス軍から天皇行幸に際して演奏すべき日本の国歌を教えてほしいという申し出が日本海軍へあった。
English: According to this view, therefore, Makoto KONDO, who was a rangakusha (a person who studied Western sciences by means of the Dutch language) entered the service of the Naval Academy (Japan), was ordered at first to create the words, but there was an objection in the Imperial Japanese Navy, therefore, Sumiyoshi KAWAMURA, who was a 海軍海補, adopted words familiar to him as a song for celebration of his home town.
Japanese: そのため、当初、海軍兵学校(日本)へ出仕していた蘭学者である近藤真琴へ歌詞を書かせたが、海軍内で異論があり、海軍海補であった川村純義が郷里で祝言歌として馴染みのあった歌詞を採用したというものである。
English: However, this view seems to have been used by the Navy to compete with the Army by making it known that the Navy made the proposal understanding the necessity of the national anthem and, according to the present study of the national anthem, it is understood that "Oyama's " was the fact.
Japanese: ただし、この説は明治当初に海軍が陸軍に対抗して自ら国歌の必要性を理解した上で発起したということを知らしめるために利用されていた節があり、現在の国歌研究においては「大山発案説」が事実であると見られている。
English: At first, Fenton composed the melody, but as it was western style, it was unfamiliar to Japanese people and was not accepted very well.
Japanese: 当初フェントンによって作曲がなされたが、洋風の曲であり日本人に馴染みにくかったため普及しなかった。
English: In 1876, a written report "Matters related to the revision of the musical score for celebrating the reign of the emperor" was submitted by Suketsune NAKAMURA, who was the Kapellmeister of the Imperial Japanese Navy.
Japanese: 明治9年に海軍音楽長である中村祐庸が「天皇陛下ヲ祝スル楽譜改訂之儀」を提出した。
English: After that, in 1880, Hiromori HAYASHI, who was an itto reijin (literally, first class performer of gagaku) prepared the setting based on the melody composed by Yoshiisa OKU, who was a Reijin (performer of gagaku) belonged to Gagaku (ancient Japanese court dance and music) Section, Shikibushoku of Imperial Household Agency and Franz Eckert, who was a German musician came to Japan in 1879 as a teacher for the military band of the Imperial Japanese Navy, added western-style harmony to the setting.
Japanese: その後明治13年（1880年）に宮内省宮内庁式部職雅楽課の伶人奥好義がつけた旋律を一等伶人の林廣守が曲に起こし、それを前年に来日したドイツ人の音楽家であり海軍軍楽教師フランツ・エッケルトが西洋風和声を付けた。
English: After performing for a trial on October 25, 1880, the report by the Chief of the Bureau of Naval Affair "Report on revision of the musical score for celebrating the reign of the emperor " was put into effect and "Kimigayo" as the Japan's National Anthem was revised.
Japanese: 同年10月25日に試演した翌26日に軍務局長上申書である「陛下奉祝ノ楽譜改正相成度之儀ニ付上申」が施工され、国歌としての「君が代」が改訂。
English: After that, on August 12, 1893, the Ministry of Education announced through the official gazette "Shukujitsu Daisaijitsu Kashi narabini Gakufu (literally, "Words and musical scores for national holidays") which included "Kimigayo," and so on.
Japanese: その後の明治26年8月12日には文部省が「君が代」等を収めた「祝日大祭日歌詞竝樂譜」を官報に告示。
English: In "Kaigun Reishiki Rei (literally, "Ordinance of the Navy for ceremonies)" which was enforced in 1914 set forth the way to handle "Kimigayo" in the Imperial Japanese Navy.
Japanese: また大正3年に施行された「海軍禮式令」では、海軍における「君が代」の扱いを定めている。
English: In the "World National Anthem Contest" held in Germany in 1903, "Kimigayo" was awarded the first prize.
Japanese: 明治36年（1903年）にドイツで行われた「世界国歌コンクール」で、『君が代』は一等を受賞した。
English: Although "Kimigayo" became to be known mainly as the national anthem after having been made to appear by Oyama and so on, it was liked before the War as a very natural song for cerebrating peace of the nation because of its position as gaka in the past and historical background that the emperor "was the head of state and had a ruling power" (the Constitution of the Empire of Japan).
Japanese: 大山らが登場させて後は専ら国歌として知られるようになった『君が代』だが、それまでの賀歌としての位置付けや、天皇が「國ノ元首ニシテ統治権ヲ総攬」していた（大日本帝国憲法による）という時代背景から、戦前にはごく自然な国家平安の歌として親しまれていた。
English: After the Constitution of Japan which set forth "popular sovereignty" was formed after the War, because the words of Kimigayo can be interpreted as one that praises the national structure centering around the emperor (For example, Ben-Ami Shillony interpreted that its theme was the perpetuity of "Kimigayo" imperial line (unbroken imperial line) and that the national anthem which was shortest in the world came to praise the dynasty which lasted for the longest period in the world) certain people assert that it was not suitable as the national anthem.
Japanese: しかし、戦後「国民主権」を定めた日本国憲法が成立すると、君が代の歌詞について天皇を中心とした国体を讃えたものとも解釈できることから（例えば、ベン・アミー・シロニーは、『君が代』皇統の永続性（万世一系）がテーマであり、世界で最も短い国歌が世界で最も長命な王朝を称えることになったと解釈している）、一部の国民から、国歌にはふさわしくないとする主張がなされた。
English: According to an opinion poll carried out by the Public Relations Department of the Cabinet Office, it became clear that a large segment of population has accepted Kimigayo as the national anthem.
Japanese: 内閣府政府広報室の世論調査により、君が代を国歌とすることについて大部分の国民に受け入れられていることが明らかとなっている。
English: However, there still exists pro and con opinions against the words of Kimigayo and opposition movements against the chorus reading of Kimigayo in the field of education.
Japanese: ただし、君が代の歌詞への反対意見や、教育現場での君が代斉唱反対運動は現在でも続き、賛否両論が対立している。
English: From the affirmative standpoints, there is an opinion on the liberal side which places importance upon tradition since the Meiji Period to sing as de facto, the national anthem.
Japanese: 肯定的立場からは、事実上の国歌として歌われてきた明治以来の伝統を重視するリベラル寄りの意見がある。
English: There is also an opinion without any political tinge that Kimigayo is a Japanese melody and most adequate for the national anthem.
Japanese: また、政治的背景とは無関係に日本的な曲であって国歌に最もふさわしいとする意見がある。
English: In addition, there is an assertion that, since people must have patriotism, they must enhance awareness by singing "Kimigayo," and there is also a loyalist-like opinion that expresses clearly the objective to cultivate loyalty to the emperor.
Japanese: さらに、国民は愛国心を持つべきであるから『君が代』を歌うことでその意識を高めなければならないとする主張や、天皇への忠誠心を涵養する目的をはっきり表明する尊王的な意見もある。
English: From the opposing standpoints, there is the opinion that the words have too strong a shade of meaning of worshiping the emperor ("kimi" = the emperor) and it symbolizes militarism and, therefore, it is not fit to Japan which is not a monarchy.
Japanese: 反対の立場からは、歌詞は天皇崇拝の意味合いが強く（君＝天皇）、軍国主義を象徴しており、君主制ではない日本にはふさわしくないとする意見がある。
English: On the other hand, there is an opinion that, compared to national anthems of a constitutional monarchy (for example, "God Save the Queen"), Kimigayo does not have a meaning of extreme praises for the emperor and it is a quite normal national anthem for the system that recognized the emperor as a symbol of the unity of the people.
Japanese: これに対して立憲君主制の国歌（たとえばイギリスの『女王陛下万歳』など。）と比較しても極端な天皇賛美の意味はなく、天皇象徴制の国歌ではごく普通の国歌だと考える意見もある。
English: With respect to the point that Kimigayo is militaristic, there is an opinion that, starting with France of which national anthem is old martial music, La Marseillaise, there are many countries that have national anthems that are extremely militaristic or a martial song itself and Kimigayo does not particularly symbolize militarism.
Japanese: また、軍国主義的だという点から見ても、古い軍歌であるラ・マルセイエーズを国歌としているフランスを始めとして、過激な軍歌調或いは軍歌そのものの国歌を持っている国は多く、君が代が特別軍国主義を象徴するものではないとする意見もある。
English: There are certain persons who state they cannot like Kimigayo because the words are difficult to understand and the atmosphere of the song is cheerless.
Japanese: 君が代の歌詞が難解、雰囲気が陰鬱という点を取り上げて、君が代が好きになれないという意見を述べる者もいる。
English: In interview with Mainichi Newspapers (March 13, 1999), Shintaro ISHIHARA replied, "Personally, I like Hinomaru (Japan's national flag) but I dislike Kimigayo. Its words have contents that hint a type of self-annihilation for the sake of one's nation. It might be a good idea to prepare new national anthem."
Japanese: 石原慎太郎は、毎日新聞（1999年3月13日付）のインタビューにて「日の丸は好きだけれど、君が代って歌は嫌いなんだ、個人的には。歌詞だってあれは一種の滅私奉公みたいな内容だ。新しい国歌を作ったらいいじゃないか」と答えている。
English: There is a criticism that the contents referring to small stones that becomes a large rock is unscientific.
Japanese: また、小さな石が大きな岩になるという内容が非科学的であるという批判も一部にある。