nntsuzu/KFTT huggingface dataset:
English: It is also called "shippo wachigai" ("seven treasures" wachigai), "jippo shippo" (ten directions, seven treasures) or "tamawachigai."
Japanese: 「七宝輪違（しっぽうわちがい）」「十方七宝（じっぽうしっぽう）」「玉輪違（たまわちがい）」ともいう。
English: It is a design made of hanakaku (a flower design) placed in the center of shippo (a geometrical design with circles intersecting a circular frame), and it is identical to "shippo ni hanakaku" (shippo with hanakaku) crest.
Japanese: 七宝の中に花角を入れたもので、七宝紋の「七宝に花角（しっぽうにはなかく）」と同一の紋である。
English: It was isolated from "wachigai," which is a chain-like yusoku design pattern (traditional design motifs of court nobles), and used as kuruma-mon (pattern of wheels or rings) in the Heian period.
Japanese: 有職の「輪違い」という鎖型に連続した文様から抜き取られたもので、平安時代には車紋として用いられていた。
English: Since the Edo period, designs with two intersecting rings were specifically called "wachigai," and therefore, "wachigai pattern with kara-hana (Chinese arabesque pattern)" came to be called "hanawachigai."
Japanese: 江戸時代以降、2つの輪を交叉させた文様を特に「輪違」と呼ぶようになったため、それと区別する意味で「唐花の入った輪違」という形状から「花輪違」というようになった。
English: Incidentally, kanawa-mon, which resembles wachigai-mon, is a design based on the circular part of gotoku (three or four-legged kettle stand), and the line used for the design is thinner than that of wachigai-mon.
Japanese: ちなみに、輪違紋と同様の図案である金輪（かなわ）紋は、五徳の輪を図案化したものであり、輪違紋の輪より細く描かれる。
English: Since Yoshikiyo SASAKI of the Izumo-Genji clan used hanawachigai-mon as his family crest, his descendants such as the Oki clan, the Enya clan, Yoshiyasu SASAKI, the Takaoka clan, and the Sase clan also used it.
Japanese: 出雲源氏佐々木義清が自らの紋としたため、その後裔である、隠岐氏、塩冶氏、佐々木義泰、高岡氏、佐世氏などが用いた。
English: Though unrelated to the families above, KO no Moronao of the Ko clan and the Jo (Taira) clan, the direct descendant of Akitajo no suke (provincial governor of Akita-jo castle), also used hanawachigai-mon.
Japanese: また全く別流であるが、高氏の高師直や、秋田城介の嫡流である城氏(平氏)もこの紋を使用している。
English: Wachigai refers to a design that consists of many intersecting circles, and in yusoku-monyo (traditional design motifs, used either in single units or repeated to create patterns, based on designs from Heian courtly decoration) has a similar pattern called shippo.
Japanese: 輪違という文様は、幾つもの輪を交差させたものをいい、有職文様では、同様のものを七宝ともいう。
English: In ancient times, this motif was called "shiho tasuki" (cross-bracing in four directions) then the name changed from "shiho" (four directions) to "shippo."
Japanese: 古くは「四方襷（しほうたすき）」という呼び名もあり、その「四方（しほう）」が「七宝（しっぽう）」へと変化したという。
English: Because shippo tsunagi is a pattern of repeating motifs of many intersecting circles that symbolizes endless peace and happiness, it was used as a design of auspicious omen representing "treasures from all over the world" and "infinite fertility and family prosperity," and it was used in family crests as well as on backing paper of byobu (folding screens).
Japanese: 無限に連鎖する平和や円満を意味する輪の交叉から成る文様のため、「世界中の財宝」と、「無限の子孫繁栄」を表す吉祥文様として家紋・屏風の裏紙の模様などに用いられた。
English: There are several variations of shippo tsunagi, such as "hana shippo," which is a shippo pattern with a flower motif in the center, "toridasuki," which is a shippo pattern with a combination of birds and hanabishi motifs, and "yabure shippo," in which the shippo pattern is interrupted.
Japanese: 七宝つなぎの種類は七宝の中央に花を入れたものを「花七宝（はなしっぽう）」、鳥と花菱を組み合わせて七宝形にしたものを「鳥襷（とりだすき）」、幾つかが繋がった形で部分的に用いたものを「破れ七宝（やぶれしっぽう）」という。
English: According to "Muryoju-kyo" (Sutra of Immeasurable Life) in Buddhism, "shippo" means "seven treasures of gold, silver, lapis lazuli, crystal (quartz), giant clamshells, coral, and agate," which represent treasures from all over the world, and in "Hokke-kyo" (Lotus Sutra), they are "gold, silver, lapis lazuli, pearl, giant clamshell, maikai, and agate."
Japanese: ちなみに「七宝」とは仏教では、『無量寿経』によると、「金、銀、瑠璃（るり）、玻璃（はり）、シャコ、珊瑚（さんご）、瑪瑙（めのう）の七種の宝」のことで、世界中の財宝を表し、また『法華経』では、「金、銀、瑠璃、真珠、シャコ、マイ瑰（まいかい）、瑪瑙の七種」のことである。
English: Mokkatsuji-ban is the generic term for wood movable-type prints; however, it is sometimes narrowly interpreted as printed books of wood movable-type printing published from the mid Edo to the early Meiji periods (Kinsei [the early modern times] Mokkatsuji-ban).
Japanese: 木活字版（もっかつじばん）とは、木製活字で印刷された出版物を指すが、狭義においては江戸時代中期から明治時代初期にかけて出版された木製活字印本（近世木活字版）を指す場合がある。
English: This Mokkatsuji-ban is distinguished from Kokatsuji-ban (the old movable-type printing), which was flourished in the early Edo period.
Japanese: この場合の木活字版とは、江戸時代初期の古活字版に対応するものである。
English: There are various theories as to the definition of Mokkatsuji-ban among researchers: one theory is that it started from the Kanei era (1624-1643): another theory is from the Tenmei and the Kansei eras (1781-1800).
Japanese: 研究家の間でも定義づけに諸説があり、寛永年間以後とする説と天明あるいは寛政年間以後とする説に分かれる。
English: And the other theory is that Mokkatsuji-ban refers to all the wood movable-type prints published after the time of Kokatsuji-ban and before the Meiji period (including metal movable-type prints).
Japanese: また、古活字版より後代の明治以前に出された活版印刷物（すなわち金属製活字を含めた）全てを木活字版とする説もある。
English: In Japan, the movable-type printing took a considerable time to be widely used, and the wood-block printing was the main current from the Kanei era; however, the wood movable-type printing barely continued.
Japanese: 日本においては活版印刷が普及せず、寛永期以後は整版が主流となるが、以後も木活字を用いた印刷が細々と続けられた。
English: This stems from the fact that the technical book of wood movable-type printing titled, "Kintei Bueiden Shuchinbanteishiki," was introduced from the Qing Dynasty, and the improvement of the wood movable-type printing technique took place.
Japanese: この頃、清国より伝わった印刷技術書『欽定武英殿聚珍版程式』がもたらされ、木活字印刷の改良が進んだことが背景にあった。
English: With this improvement, Mokkatsuji-ban became more costless and handier than the wood-block printing using one engraving block, so that it made publications with limited capital and small circulation possible.
Japanese: 改良によって1枚の板を版とする整版よりも経済的なコストが減少し、簡便になったことにより、小資本・少部数の出版が可能となった。
English: Mokkatsuji-ban began to be used for privately printed books or the amateur edition, so called, private publication as well as text books for educational institutions of the Edo shogunate, local schools established by feudal lords, and private schools of scholars.
Japanese: 私家版や素人版などと言った現在で言う自費出版に用いられるようになった他、江戸幕府の教育機関や地方の藩校、学者の私塾などの教科書にも用いられた。
English: Since there was no concept of copyright at that time, and Mokkatsuji-ban was unfit for the traditional publication practice that a manufacturer and holder of a printing block was regarded as a rightful person, some bookstores as publishers in the three major cities launched a campaign against it.
Japanese: これに対して当時は著作権の概念がなく、整版版木の製作・所持者が権利者であると考えられてきた当時の出版慣行と適合しないことから、版元である三都の書林（本屋）などを中心にこれを排斥する動きもあった。
English: At the time, these bookstores were not under strict control by the shogunate and domains, so that they published many political books or books introducing new theories and opinions.
Japanese: 逆に書林のように幕府や諸藩の統制を受けにくかったために政治関係の書籍や新規の学説、主張などを取り込んだ書籍などが多く刊行された。
English: The food pickled in sake lees has a light flavor while the one pickled in sweet sake lees has a sweet, rich flavor.
Japanese: 酒粕に漬けたものは味が淡泊であり、みりん粕に漬けたものは濃厚な甘味がある。
English: The moist sake lees being not sufficiently compressed tastes better than the dry one that contains little sake.
Japanese: 酒粕は圧搾の不十分な湿ったものがよく、乾いたものは酒を含むのが少ないから味が劣る。
English: Mix sake lees with salt, sugar, or sake to a pleasing consistency, stuff it into a container, seal it up with the lid, and keep it in a cool place to make it ripen.
Japanese: これに塩、砂糖、酒などをくわえてゆるめ、容器に固く詰め込み、蓋をして目張りをして、冷所に置き、よく熟れた粕に漬ける。
English: If foodstuff is directly soaked in sake lees, the water would ooze out from the foodstuff and make the sake lees acidify; so it is better to pickle the foodstuff in salt beforehand, or sprinkle a dash of salt on it and leave it for a while, or dry it in the shade beforehand.
Japanese: 食材はそのまま漬けると粕の中に水分が出て酸敗するおそれがあるから、一度塩漬けしてから漬け、あるいは少量の塩をふりしばらく置いてから、あるいは陰干しにしてから漬ける。
English: When pickling the raw foodstuff that contains much water, cover the bottom of the container with a mixture of rice bran and a dash of salt, and lay a perforated inner lid on it so as to let excess water drip away.
Japanese: なまのまま、特に水分の多いものを漬ける場合は、ぬかと少量の塩をまぜたのを容器の底に敷いて、その上に多数の小さな穴の開いた中蓋を置いて、水分が下に落ちるようにする法がある。
English: When puttting the foodstuff, fill sake lees to capacity so as to keep the foodstuff from sticking each other or to the container.
Japanese: 食材は相互に、また容器に接しないようにその間に十分に酒粕を詰めて固く漬け込む。
English: Natsumatsuri Naniwa-kagami is the title of ningyo joruri (puppet drama) and kabuki kyogen (comic drama).
Japanese: 夏祭浪花鑑（なつまつりなにわかがみ）は、人形浄瑠璃および歌舞伎狂言の題名。
English: The story is based on a murder case by a fish dealer that occurred in Osaka Nagamachiura (the current Nipponbashi, Chuo-ku, Osaka City) in the winter of 1698.
Japanese: 物語は元禄11年(1698)冬、大坂長町裏（現在の大阪市中央区(大阪市)日本橋(大阪府)）で起きた魚屋による殺人事件を題材にしている。
English: However, nowadays the third act 'Sumiyoshi Toriimae' (aka. Toriimae), the sixth act 'Tsuribune Sabuuchi' (aka. Sabuuchi), and the seventh act 'Nagamachiura' (aka. Doroba) are often performed, therefore, these are frequently used as the common names.
Japanese: ただし今日では三段目「住吉鳥居前｣（通称：鳥居前）・六段目「釣船三婦内」（通称：三婦内）・七段目「長町裏｣（通称：泥場）がよく上演されるので、これらが通称として用いられることが多い。
English: Danshichi was a homeless waif in his boyhood, picked up by Giheiji MIKAWAYA, married Giheiji's daughter Okaji, had one child, and became a fish vendor called Bote-furi (vending with calling to customers) (peddler) in Senshu Sakai.
Japanese: 団七は、幼い時浮浪児だったのを三河屋義平次に拾われ、娘のお梶と所帯を持ち一子をもうけ泉州堺で棒手振り（行商）の魚屋となっている。
English: He basically had a strong spirit like Robin Hood and associated with an old kyokaku (professional gambler) Tsuribune Sabu and others while calling himself Danshichi Kurobe.
Japanese: 元来義侠心が強く、名も団七九郎兵衛と名乗り老侠客釣船三婦らとつきあっている。
English: Danshichi mistakenly had a chugen (a person in low rank) belonging to a villain named Sagaemon OTORI, die to save Isonojo, the son of Hyodayu TAMASHIMA who was a vassal of the Hamada family in Senshu and his benefactor, from danger and went to prison.
Japanese: 団七は恩人である泉州浜田家家臣玉島兵太夫の息子磯之丞の危難を救うため、悪人大鳥佐賀右衛門の中間を誤って死なせてしまい入牢する。
English: However, Danshichi was released through the efforts of Hyodayu with a reduction in penalty by one degree and expelled from Sakai.
Japanese: だが、兵太夫の尽力で釈放され、罪一等を減じられ堺からの所払いとなる。
English: The first act describes the debauchery of Isonojo and wrongdoings of Sagaemon who illicitly loves Kotoura, while the beggar Tokube narrates his own despair, and also describes the ingenuity of Okaji who admonishes Isonojo, and other matters.
Japanese: 磯之丞の放蕩と琴浦に横恋慕する佐賀右衛門の悪事に、乞食の徳兵衛に自身の落魄ぶりを述べさせ磯之丞を諭すお梶の智略などを描く。
English: Sabu happened to see Isonojo getting caught by villains Koppa no Gon and Nama no Hachi forced to pay a palanquin fee, and saved Isonojo and made him go to a nearbye teahouse.
Japanese: 三婦はたまたま通りかかった磯之丞が駕籠代のことで、悪党のこっぱの権となまの八に絡まれているのを救い、磯之丞を近所の茶屋に行かせる。
English: Danshichi was happy saying that 'I owe this to Ofudosama of my faith, and thank you very much, Mr. Hyodayu, I will protect Mr. Isonojo at the risk of my life', then Sabu called him, celebrated the reunion, and gave him a new kimono.
Japanese: 「これも信心いたす、お不動様のおかげじゃ、また、兵太夫様、おありがとうございます、磯之丞様は私が命に賭けてお守り申します」と喜ぶ団七に、三婦が呼びかけ再会を喜んだあと、新しい着物を与える。
English: Isonojo's mistress Kotoura was approached by Sagaemon while passing by, but she was saved by Danshichi who freshly became kyokaku appearing from the barber shop.
Japanese: 入れ違いに磯之丞の愛人琴浦が佐賀右衛門に言い寄れらるが、床から現れすっきりした侠客姿となった団七に救われる。
English: Before making Kotoura escape to the teahouse, another kyokaku Tokube ISSUN who was a henchman for Sagaemon appeared and a fight began.
Japanese: 琴浦を茶屋に逃がす間もなく、佐賀右衛門の子分の侠客一寸徳兵衛が現れ争いとなる。
English: Okaji intervened to stop the two men from fighting, and Tokube apologized because he recognized that she had been saved from his own ordeal before.
Japanese: 二人の争いをお梶が止めに入り、徳兵衛はお梶が以前、自身の難儀を救ってくれた恩人とわかり謝罪する。
English: Moreover, they learned that Tokube's wife Otatsu was a vassal of the Tamashima family, and thereby Danshichi and Tokube exchanged each other's yukata sleeves (light cotton kimono) to forge a bond of Gikyodai (to be associated with each other as brothers).
Japanese: また、徳兵衛の女房のお辰が玉島家の家臣であったこともわかり、団七と徳兵衛は互いの浴衣の片袖を交わして義兄弟の契りを結ぶ。
English: One of the highlights is how Danshichi changes from a dowdy shape in the first part to a fresh kyokaku in the second part as Takemoto said 'freshly shaved Itobin-atama (head) and blue sakayaki'.
Japanese: 前半部のむさくるしい姿から、「ずっと出でたる剃立ての、糸鬢頭青月代」の竹本の言葉どおり、後半部のすっきりした侠客姿への団七の変わり具合が見ものである。
English: In the scene where Sabu makes some young people at Toko no mise (store) remove their loincloths, he enters the store again quietly in Tokyo, but the staging is colorful in kamigata and Sabu has the Toko no people wear loincloths calling out 'Let's pull it' and geze (off-stage) music with 'Kankara Daiko' (drum), which is fullly enjoyable truly like kamigata.
Japanese: 三婦が下帯を床の若い衆に解かせる場面においては、東京では地味に、又床の店に入るが、上方では三婦が床の者に下帯を持たせ「それ、引いたりしょ。」の掛け声から下座音楽に「かんから太鼓」を交える派手な演出となり、いかにも上方らしいサービス満点さが楽しい。
English: There is a humorous performance to hide his private parts with a fan in haste realizing he had no loincloth while trying to tuck up the hem of his yukata's while withdrawing into the passage.
Japanese: 花道の引っ込みの際浴衣のすそを捲り上げようとして下帯のないのに気づき慌てて扇子で前を隠すユーモラスな演技がある。
English: After this, performance in kamigata he withdrew trotting in uchimata blocking the sunshine with his fan, and in Edo he withdrew slowly covering the front side saying 'dokkoisho' (a word spoken while applying muscle or when you move your tired body).
Japanese: このあと、扇子で日をかざし内股で小走りに引っ込むのが上方の、「どっこいしょ」と前を押さえながらゆっくりとひっこむのが江戸の演出である。
English: Danshichi plays somehow a dowdy and oily role, while Tokube plays a slim and sophisticated role.
Japanese: 団七がどことなくもっさりした脂ぎった役柄なのに対して、徳兵衛はすらりと小粋な役柄である。
English: However, an ability to bluff is required because he was a beggar before and says 'I'm ashamed of myself' when accused by Okaji.
Japanese: ただし、以前は物乞いであったので、どことなく虚勢を張る感じが求められ、お梶に責められると「面目ない。面目ない。」
English: This role is mainly played by Kanya MORITA (the fourteenth), Nizaemon KATAOKA (the fifteenth), Koshiro MATSUMOTO (the ninth), Hashinosuke NAKAMURA, and others.
Japanese: 守田勘弥(14代目)、片岡仁左衛門(15代目)、松本幸四郎(9代目)、中村橋之助などが持ち役である。
English: When withdrawing in the final passage, Okaji removes a facial tissue from Danshichi's beard to indicate their harmony.
Japanese: 最後の花道の引っ込みでは、お梶が団七の髷についた化粧紙をとって仲むつまじさを表す演出がある。
English: An excellent style is passed down whereby an officer who tells about Danshichi's discharge withdraws holding a fan over him.
Japanese: 団七赦免を告げる役人が扇を上にかざして退場する優れた型が伝わっている。
English: In the performance of the current Tojuro SAKATA at the Osaka Shochiku-za Theater in July 2006, a season is changed to spring as in the original and the characters wore awase (lined garment) from yukata.
Japanese: 2006（平成18）年7月大阪松竹座での現坂田藤十郎の所演では、原作どおりの春に季節を変え、登場人物も浴衣から袷を着用していた。
English: Isonojo becomes a clerk at the household articles store in Uchihoncho being introduced by Danshichi, but was almost robbed of his money by Giheiji and others and he killed the accomplice broker Yashichi, thereby he and Kotoura were hidden at Sabu's house.
Japanese: 磯之丞は、団七の紹介で内本町の道具屋の手代となったが義平次らに金を騙し取られそうになり、共犯の仲買の弥市を殺し、琴浦とともに三婦の家に匿われている。
English: Otatsu promptly agreed, but Sabu did not agree because 'His face looks so sexy,' he was afraid that something might happen between Otatsu and Isonojo.
Japanese: 二つ返事で快諾するお辰だが、三婦が承知しない、「こんたの顔に色気があるのじゃ」とうのが理由で、万が一お辰と磯之丞との間に関係ができてしまうのを恐れているのである。
English: Otatsu is angry as 'I'm losing my face, please not to make me do so, my dear,' but Sabu never agrees.
Japanese: 「それでは、妾の顔が立たぬぞえ、立ててくだんせ、もし、三婦さん」と憤るお辰だが、三婦はうんといわない。
English: Otatsu was at a loss and put an iron beside her on her cheek and showed her spirit even by losing her beauty as 'Do you think I'm still beautiful?'
Japanese: 思い余ったお辰は傍にあった焼き鏝を己の頬にあて、「これでも思案のほかという字の色気がありんすか」と自身の美貌を醜くしてまでの心意気を示す。
English: Sabu give up any intention to fight because of his faith, but could not stand it anymore and said 'Oh, I have to kill him' to Otsugi, who replied 'Do you really have to?'
Japanese: 信心のため喧嘩を止めていた三婦は我慢ならず、おつぎと、「こりゃ！嬶、どうでも、切らなあかんなあ」「ほんなら、こちの人、切らしゃんすのかい。」
English: Gon and Hachi looked down on him as an old man and threatened him while being 'Funny, are you killing us?' 'Why don't you do that?' 'Let's kill us!' 'Yes, butcher us!'
Japanese: 権と八は老人と思って舐めてかかり「おお、おもろいなあ、切るんかい」「切ってもらおうかい」「さあ切れ！」「ええ、キリキリと切りさらせ！」とすごむ。
English: Sabu rips off a beadroll in his ear as 'Shut up, what I kill is this beadroll and once killed, I'm still the original Tsuribune, feeling free.' and kicked them down the other way around as 'you, wait there,' and after changing his kimono, he goes out to kill Sagaemon with a long knife.
Japanese: 三婦は、耳につけていた数珠を引きちぎり「じゃかましいわい、わいが切るのはこの数珠じゃ、切ったからには元の釣船、うぬらに遠慮がいるものかい」とあべこべに権と八をけり倒して「お前らそこで待ってけつかれ」と、着替えたあと、長ドスをひっさげ佐賀右衛門を斬りに行く。
English: Giheiji appears at the gate in a palanquin after they had gone and made an excuse to Otsugi saying; 'I've been used by children because I'm old, and I came here to take Kotoura as requested by Danshichi' and hurriedly took Kotoura into the palanquin.
Japanese: 入れ違いに義平次が駕籠を連れて門口に現れ、「年取って子供に使われてます、団七に頼まれて琴浦を引き取りにきましたのでな」とおつぎに訳を話し、そそくさと琴浦を駕籠に乗せて連れて行く。
English: After that, Danshichi arrives with Tokube and is asked about the circumstances from Otatsu, but he was sure that he did not say that.
Japanese: そのあと、三婦、徳兵衛とともにやってきた団七はお辰から事情を聞かれるが自身が言った覚えがない。
English: It seems that Sagaemon uses greedy Giheiji to abduct Kotoura.
Japanese: どうやら佐賀右衛門が欲深い義平次を使って琴浦を攫う算段のようである。
English: Spirit of an old kyokaku who knows the ups and downs of life thoroughly is required and it is difficult to play while mixing firmness and softness together.
Japanese: 人生の辛酸を知り尽くした老侠客の心意気が求められ、柔軟取り混ぜた演じ方が難しい。
English: Skillful supporting actors such as Sadanji ICHIKAWA (the third), Danzo ICHIKAWA (the eighth), Kichisaburo ARASHI (the seventh), Kikujiro ONOE (the fourth), and others were impressive.
Japanese: ほかには、市川左團次(3代目)、市川團蔵(8代目)、嵐吉三郎(7代目)、尾上菊次郎(4代目)など腕達者な脇役が印象に残る。
English: Moreover, when he entered cutting the beadroll and wearing a sword, he wore a shroud with a dragon in the clouds drawn in Japanese ink painting, and this staging emphasizes Danshichi's tattoo.
Japanese: また、数珠を切り刀を引っさげての入りでは雲竜の墨絵模様の帷子を着るが、これは団七の刺青を引き立てるための演出である。
English: Especially when withdrawing, after being called by Otsugi, pointing at his face as 'It is not here that people like.'
Japanese: とくに引っ込みの際、おつぎに声をかけられたあと、「こちの人が好くのはここやない。」
English: Kanzaburo NAKAMURA (the seventeenth) and Kanzaburo NAKAMURA (the eighteenth) are playing two roles quicky changing with Danshichi.
Japanese: 中村勘三郎(17代目)と中村勘三郎(18代目)は、団七との早替わり二役で演じている。
English: Moreover, the clothes are beautiful summer outfits such as a black satin belt, a shallow yellow cotton hat, and a parasol.
Japanese: また、衣装も黒帷子に黒繻子の帯、浅黄の綿帽子、それに日傘を差して出る美しい夏のいでたちである。
English: In one staging, she looks at a burn of her face in the reflection in a tray, puts the tray on tatami, and looks up at Sabu.
Japanese: 顔のやけどを盆に移移し見て、その盆を畳について三婦を見上げる形がある。
English: Sabu's wife Otsugi is ordinary, but at the same time she needs to be saporific as a companion of the old kyokaku, and thereby it is important as the supporting role.
Japanese: 三婦女房おつぎは、ごく普通の市井の一女房だが、反面、老侠客の連れ合いの味を出すことも求められ、脇を固める重要な役柄である。
English: Staging excites the audience calling an actor's stage family name of Sabu as 'yo, yo, OO-ya!' when Sabu left the passage heeling Gon and Hachi.
Japanese: 三婦が権と八を追い立てて花道を去るときは「ようよう○○屋！」と三婦役の役者の屋号を呼びたて、客席を沸かせる演出となっている。
English: The first part is somber focusing on exchanges between Otsugi and Sabu, while the second part goes speedy in reverse in a whirl of coming and going from the matter of Sabu's beadroll.
Japanese: 前半部のおつぎと三婦のやりとりを中心とする重苦しさから、後半部の三婦の数珠の件からは一転して人物の出入りがめまぐるしい快速の運びとなる。
English: When Danshichi runs for the passage near the end of the curtain, 'danjiri bayashi' (music performed in festivals) is uplifted in crescendo, which indicates Danshichi's impatient mind quite well.
Japanese: 幕切れ近く団七が一散に花道に入る時は上方では「だんじり囃子」をクレシェンドでもりあげ、団七の焦る心中を上手く表している。
English: Danshichi caught up with the palanquin and accused Giheiji, but he had no remorse as 'I was waiting for you to be disgusted.'
Japanese: 団七は駕籠に追いつき義平次をなじるが、「おれはお前の愛想尽かしを待っていたのじゃ」と反省の色もない。
English: Danshichi quickly put a stone in his pocket and said that he had thirty ryo (old currency unit) gathered by his friends in Tanomoshi-ko (beneficial association) when he was in jail.
Japanese: 団七はとっさに石を懐に入れ、入牢中に友人が頼母子講で三十両集めてくれて今ここにある。
English: Giheiji heard that he could get some money and had the palanquin return and said, 'Hey, where's the money?', 'Well, that money is...', 'Yes? That money?', 'I don't have the money here' and takes out the stone camouflaging as money.
Japanese: 義平次は金を貰えると聞いて駕籠を返すが、「アニよ、その金は？」「さあ、その金は・・・」「その金は？」「その金、ここにはござりませぬわい」と金子に見せかけた石を出す。
English: Angry Giheiji hits Danshichi very hard as 'How dare you cheat your merciful father' and wounded him by hitting his forehead by Danshichi's setta (sandal).
Japanese: 怒った義平次は団七を打ち据え、「ようもようも、この仏のような親をだましくさったなあ」とついには団七の雪駄で額を打ち傷を負わせる。
English: Danshichi put his hand on his forehead complaining; 'Oh, it hurts … Father, you didn't have to hit like that', and was surprised at the blood.
Japanese: 「ああ痛タ・・・おやっさん～、何ぼ何でもこないにドクショウに打たいでもええやろが」とぼやきながら団七は額に手を当て、血がついていてびっくり。
English: Danshichi became angry as 'Hey, you hurt a man's living face...' and Giheiji glared at him as 'Hit, slapped, hit, so what? What about it?'
Japanese: 「こりゃこれ男の生き面を・・・」と憤る団七「打った、はたいた、打ったがどうした、なんとした」とにらみ付ける義平次。
English: Hey, are you going to kill me?', 'No, Father, how could I…' one's father-in-law is almost one's father.
Japanese: 「何じゃい、何じゃい、われはわしを切りさらすのか」「あ、いやおやっさん、さようなことができまっかいな・・・」舅といえば親も同然。
English: Gloating Giheiji held the sword and issued a challenge, 'Listen, a father-in-law is a father and if you kill a father, you'll be dragged by an Isshaku (about thirty centimeters) bamboo saw as if cutting down Issun (about three centimeters), you'll be hanging upside down from a Sanjaku (about ninety centimeters) tree if cutting down Sanzun (about nine centimeters), so, cut me down, with this'.
Japanese: 義平次は図に乗り、「これよく聞け、舅は親じゃぞよ、親を切ればな、一寸切れば一尺の竹鋸で引き回し、三寸切れば三尺高い木の空で、逆磔じゃぞよ、さあ切れ、これで切れ」と刀をつかんで挑発する。
English: While quarreling as 'Father, please stop it, it's dangerous,' 'Hey, kill me, kill me', finally fighting over the sword.
Japanese: 「おやっさん、やめとくんなはれ、危ないがな」「さあ、殺せ、殺しさらせ」と言い合ううち、ついには刀を取り合う揉みあいとなる。
English: Wow, you did cut, you're a father-killer,' 'Father, what are you talking about? That's enough,' and Danshichi released stage blood when he pressed Giheiji's mouth and brutally killed him knowing what would be coming while danjiri-bayashi was bent over.
Japanese: 「うわあ、切りやがった、親ごろし〜」「親父どん、何いうんじゃい、ええ加減にだだけさんすな」と義平次の口を押さえたときに、団七は血糊に気づきもはやこれまでと、だんじり囃子の聞こえる中、義平次を惨殺する。
English: Danshichi threw his body into a pond, washed himself with well water, and disappeared into a crowd of danjiri as 'Though a bad guy, still a father-in-law is a father, Father, I'm sorry.'
Japanese: 屍骸を池に捨て、井戸水で身体を洗った後「悪い人でも舅は親、親父どん、堪忍してくだんせ」とだんじりの群集にまぎれて去っていく。
English: This is a dreadful murder play, but with a famous scene decorated with a sense of the summer seasonand excellent colors, such as a contrast between a dark stage and the festival lights of danjiri, colors of vivid tattoos and a crimson loincloth, use of real water and real mud, and others.
Japanese: 凄惨な殺人劇だが、暗い舞台と祭りのだんじりの灯りの対比、鮮やかな刺青と真紅の下帯の色、本水、本泥の使用など夏の季節感と見事な色彩に彩られた名場面である。
English: This is called 'Doroba' (mud field) because Giheiji jumps in here and shows a frog's pose hassling with Danshichi.
Japanese: 義平次はここに飛び込み、団七にからみ蛙の見得をしたりするので「泥場」と呼ばれる。
English: After the curtain falls, the actor who plays Giheiji is covered with mud and it is very difficult to wash it away.
Japanese: 幕が終わると、義平次役の役者は全身泥だらけで、洗い落とすのに一苦労する。
English: How vivid and hateful he acts making Danshichi standout and audience understand Danshichi's anguish and the process leading up to the murder.
Japanese: いかに生々しく憎く演じるかで、団七が引き立ち観客も団七の苦渋と殺人に至る経過が理解できる。
English: Skillful actors such as prewar Tomoemon OTANI (the sixth), recent Enjaku JITSUKAWA (the third), Okuzan ASAO (the fourth), Genzaemon NAKAMURA, and Danshiro ICHIKAWA the fourth were impressive and lately Takashi SASANO was received well when Kanzaburo NAKAMURA, the eighteenth played at 'Heisei Nakamura-za Theater'.
Japanese: 戦前の大谷友右衛門(6代目)、近年では實川延若(3代目)、浅尾奥山(4代目)、中村源左衛門、四代目市川段四郎など腕のいい役者が印象に残るが、最近は、十八代目中村勘三郎が「平成中村座」で演じた時の笹野高史が好評であった。