nntsuzu/KFTT huggingface dataset:
English: Selected poems (10 poems are recited beginning with the youngest writer's one. Prior to the recitation of each poem, its writer's prefectural name and his or her own name are called out. Japanese particle "no" is inserted between his or her family name and first name.)
Japanese: 選歌（10首、詠進者の年齢の低いものから。歌に先立ち、都道府県名と氏名（氏と名の間に「の」を入れる。）が呼称される。）
English: A poem written by a member of the Imperial Family (a representative person, who is not the grand empress dowager, the empress dowager, the empress consort, the crown prince or the crown princess) (Prior to the recitation of his or her poem, the Imperial Prince's name "- no miko," his wife's name "- no miko no mime" or his daughter's name "- no hime miko" is called out.)
Japanese: 皇族（三后並びに皇太子及び皇太子妃を除く。）の詠進歌（代表1人。歌に先立ち、親王は「－のみこ」、親王妃は「－のみこのみめ」、内親王は「－のひめみこ」と呼称される。）
English: Then, "kisai no miyano miuta" (a poem of the empress) is recited twice, and "ohomi uta" (a poem of the emperor) is recited three times.
Japanese: その後、「皇后宮御歌」（きさいのみやのみうた―皇后の歌）が2回、「御製」（おほみうた―天皇の歌）が3回繰り返して講ぜられる。
English: (While the empress dowager is alive, "ohokisai no miyano miuta" (a poem of the empress dowager) is recited prior to the presentation of kisai no miyano miuta.)
Japanese: （皇太后があるときは皇后宮御歌に先立って「皇太后宮御歌」（おほきさいのみやのみうた）が講ぜられる。）
English: Customarily, just before the recitation of ohomi uta, koji says "ohomi uta on the theme of -" and every participant except the emperor stands up to listen to that poem.
Japanese: なお、御製が講ぜられる直前には、まず、講師がその年のお題を読み上げ、「…ということを詠ませたまえる御製（おおみうた）」と講師が言うと、天皇以外の出席者が全員起立して御製を拝聴するのが習わしとなっている。
English: Hikojoyaku consists of dokuji, koji, hassei and kosho: Dokuji is a chairman; firstly, koji reads out all the poems without a tune; then hassei chants them with a tune; kosho (four people) chant the second poem and the followings with hassei.
Japanese: これらの歌を講ずる披講所役は、司会にあたる読師（どくじ・1人）、最初に節を付けずに全ての句を読み上げる講師（こうじ・1人）、講師に続いて第1句から節を付けて吟誦する発声（はっせい・1人）、第2句以下を発声に合わせて吟誦する講頌（こうしょう・4人）からなる。
English: Their functions are entrusted to descendants of the former nobility belonging to the group "Hikokai" by the Board of the Ceremonies of the Imperial Household Agency.
Japanese: これらの所役は「披講会」という団体に属する旧華族の子弟が宮内庁式部職の嘱託として務める。
English: Utakai Hajime is broadcast live throughout Japan on NHK Sogo television (NHK General TV) and NHK Satellite 2nd Television of Japan Broadcasting Corporation.
Japanese: 歌会始の模様は日本放送協会のNHK総合テレビジョン・NHK衛星第2テレビジョンで全国に生放送される。
English: Utakai Hajime is one of the attention-grabbing court functions because of the fact that Hikojoyaku's recitation is attractive in its quality, that people are interested in such a national contest at which poems of people throughout Japan are presented, and that sometimes ohomi uta, ohokisai no miyano miuta and poems of other Imperial Family members suggest feelings and recent situations of the writers.
Japanese: 披講所役による朗詠そのものの持つ「質的な魅力」に加え、各地の国民の詠進歌が披露されるという全国大会のような興味、また、御製・皇后宮御歌・皇族の詠進歌には詠者の心情・近況が示唆されることもあり、注目を浴びる宮中行事の一つである。
English: Chagama is a type of tea utensils used in Sado, which is used to boil water for tea.
Japanese: 茶釜（ちゃがま）は、茶道に使用する茶道具の一種で、茶に使用する湯を沸かすための釜のことである。
English: As it is known in a Japanese folktale called "Bunbuku chagama" (The Magic Teakettle), chagama is made mainly of iron and comes in various sizes from 30cm to around 100cm in diameter.
Japanese: 分福茶釜で知られるように茶釜は小さなものは直径30cm程度から、大きなものは100cm程度まであり、主に鉄で作られている。
English: Chagama was developed in Japan long ago and its cultural region remains in Japan but it is used throughout the world as Chanoyu (the tea ceremony) is also practiced outside Japan.
Japanese: 日本で古くに開発され、文化圏は日本に留まるが、日本国外でも茶の湯は行なわれており、世界中で使用されている。
English: Commonly chagama is placed directly onto a hearth, but there is also a small chagama, which are hanged to a chain suspended from ceiling.
Japanese: 茶釜はほとんど炉の上に直接据えて用いるが、天井から下げた鎖にかけて用いる小ぶりの茶釜も存在する。
English: This is called tsuri chagama (hanging chagama, iron tea ceremony pot) and is used in early spring (around March to April).
Japanese: これを釣り茶釜（つりちゃがま）といい、春先（三月から四月頃）に用いる。
English: A list of cultural properties designated and registered by Kyoto Prefecture lists the cultural properties and historical sites and the like, designated or registered by Kyoto Prefecture in a view format, but not all the data are recorded.
Japanese: 京都府指定・登録文化財一覧（きょうとふしてい・とうろくぶんかざいいちらん）は京都府指定または登録の文化財や史跡等を一覧形式でまとめたものであるが、全てを掲載しているわけではない。
English: Zenrin-ji Temple (Kyoto City) Amida-do hall (temple hall having an enshrined image of Amitabha), hojo (an abbot's chamber), chokushi-mon gate (the gate for the Imperial Envoys), shoro (a bell tower), and chumon (inner gate) [Sakyo Ward, Kyoto City]
Japanese: 禅林寺(京都市)阿弥陀堂、方丈、勅使門、鐘楼、御廟、中門〔京都市左京区〕
English: Tamaya (mausoleum) (Hoshun-in Temple), tamaya (Zuiryu-in Temple), shodo (Donkokaku), Tagetsu-kyo Bridge, front gate, Bosan-mon Gate (Kita Ward, Kyoto City) *Designated in 2001.
Japanese: -霊屋（芳春院）、霊屋（瑞龍院）、昭堂（呑湖閣）、打月橋、表門、墓参門〔京都市北区(京都市)〕※平成13年度指定
English: Hondo (main hall), kaisan-do hall (temple where the statue of founder priest is placed), tahoto pagoda ("multi-treasure" pagoda), nio-mon gate (Deva temple date), bell tower, kyozo (sutra repository), kuri (the priest's living quarters or the kitchen of a temple), study, grand entrance, kara-mon gate (Chinese-style gate), hozo (treasure storehouse), stone bridge, muna-fuda jusan-mai (thirteen wooden tags commemorating the foundation of the temple) (all of the foregoing are tangible cultural properties in Kyoto Prefecture)
Japanese: -本堂、開山堂、多宝塔、仁王門、鐘楼、経蔵、庫裏、書院、大玄関、唐門、宝蔵、石橋、棟札十三枚（以上全て京都府指定有形文化財）
English: Kogetsu Enshu School, also referred to as Kogetsu Enshu's Zen School of Tea ceremony is one of various tea ceremony schools in Japan, and it branched off from Enshu School.
Japanese: 壷月遠州流(壷月遠州流禪茶道)（こげつえんしゅうりゅうぜんさどう）は、遠州流の流れをくむ茶道諸流派の一つ。
English: The first head of the school was a Buddhist priest, Rokujian Rikan Kanko AOYAGI whose title was Chionin Temple sojo which means high-ranking priest of Chionin Temple (1894-1983).
Japanese: 一世家元六字庵理貫（ろくじあんりかん）青柳貫孝（かんこう：京都知恩院僧正）上人（1894年-1983年）。
English: He obtained the license as Grand Master from Munemasa KOMIYAMA, the advisor of Tea Ceremony of Enshu School in 1916.
Japanese: 大正5年（1916年）に茶道遠州流顧問小宮山宗正師より師範免許を取得。
English: He reformed the things in disorder of those days and established the style which is based on the fundamental spirit of tea ceremony under the guidance of the Holy Priest Kaigyoku WATANABE (1872-1933).
Japanese: 渡邊海旭（かいぎょく）上人（1872年-1933年）の指導に基づいて当世乱れがちになっていた茶の湯の道の改革を計り、原点に帰った茶風を打ち立てた。
English: Rabindranath Tagore (1861-1941), the first oriental Nobel Laureate in literature, became a disciple when the second head visited India in July, 1921 and worked as a lecturer about tea ceremony at a college.
Japanese: 東洋初のノーベル文学賞受賞者ラビンドラナート・タゴール（＝タークル）（RabindranathTagore1861年-1941年）は先々代家元、渡印（大正10年（1921年）7月、インドベンゴール・ボルプール市サンチニケータン大学講師（茶の湯））における弟子である。
English: The name, 'Kogetsu Enshu School' was named after the founder, Kaigyoku WATANABE Holy Priest, whose pseudonym was 'Kogetsu Teiyo.'
Japanese: 流祖にあたる渡邊海旭上人が「壷月諦誉」と号したので「壺月遠州流茶の湯」と命名した。
English: Founder (the honorary 1st head) Kaigyoku WATANABE (the third principal of Shiba Gakuen, who suggested the name of beverage, Calpis, compiler of Taisho Shinshu Daizo-kyo Sutra, founder of Taisho University, professor of Toyo University)
Japanese: 流祖(名誉一世）渡辺海旭（芝学園第3代校長,カルピスの名付け親,大正新脩大蔵経編纂者,大正大学創設者,東洋大学教授）
English: The 3rd head Myomon NAKAMURA (Founder of Mt.Tento Butsubo-ji Temple, Rokujian Nyoko 1946-2005)
Japanese: 家元三世中村名聞（みょうもん天燈山仏母寺開基、六字庵如光ろくじあんにょこう、1946年-2005年）
English: The 4th head Nyosen NAKAMURA (President of specified non-profit jiridical person Kogetsu Enshu's Zen School of Tea ceremony head family, 1973-)
Japanese: 家元四世当代中村如栴（にょせん特定非営利活動法人壷月遠州流禪茶道宗家理事長、1973年-）
English: Agon Shu's Hoshi Matsuri is a religious event organized by the Agon sect on February 11 of every year as the "Fire Rites Festival/Agon Shu's Hoshi Matsuri" in the precincts of Honzan (main temple) of Agon sect in Omine-cho, Kita-kazan, Yamashina Ward, Kyoto City, Kyoto Prefecture.
Japanese: 阿含の星まつり（あごんのほしまつり）は、阿含宗により毎年2月11日、「炎の祭典・阿含の星まつり」として京都府京都市山科区北花山大峰の阿含宗本山境内地にて開催する宗教行事である。
English: In addition to live telecast on February 11 every year with Kyoto Broadcasting System Company Limited as the key station, articles on the event are introduced in main newspapers, Shukan Bunshun, and Shukan Shincho as well.
Japanese: 京都放送をキーステーションとした毎年2月11日のテレビ中継や、主要新聞、週刊文春、週刊新潮などにも記事が紹介されている。
English: In February, 1981, the number of gomadan (an altar for the fire ceremony) became two, and the event came to be called Hosho Gedatsu (deliverance from earthly bondage) Daisaitogomaku.
Japanese: 1981年2月この年より護摩壇が二つになり、宝生解脱大柴燈護摩供と呼ばれるようになる
English: Hataraki-goto refers to shosa (conduct) that has certain ideographical and representational elements in the parts that consist of performers' shosa and Noh-hayashi (percussion ensemble) in Noh plays.
Japanese: 働事（はたらき-ごと）は、能において、演者の所作と、能囃子によって構成される部分のうち、その所作が一定の表意的・具象的な要素を持つものを指す。
English: Similar to mai-goto (instrumental dances), hayashi (musical accompaniment played on traditional Japanese instruments) for hataraki-goto consists of four kinds of musical instruments: nohkan (Japanese Noh flute), kotsuzumi (small hand drum), otsuzumi (big drum), and taiko (stick drum).
Japanese: 舞事と同じく、能管、小鼓、大鼓、太鼓（太鼓は入るものと入らないものがある）の四種の楽器が囃子に用いられる。
English: Though mai-goto is mostly performed by single performer such as the Noh shite (main role) or the tsure, hataraki-goto contains performances by many performers around the shite such as in 'kirikumi' (many samurai killing each other using a blade) and 'tachimawari' (a type of action piece, hataraki in Noh, in which the dancer circles the stage to the left to noncongruent instrumental music, the stick drum may be used in the accompaniment).
Japanese: また舞事は大半が能シテまたは能シテなどによって一人で行われるが、働事には「斬組」や「立廻り」のようにシテを中心とする多人数によって行われるものが含まれる。
English: There are four kinds of hataraki-goto that are played on nohkan, kotsuzumi, and otsuzumi: 'kakeri' (a type of action piece in Noh, hataraki danced about the ghosts of warriors, shura-mono or mad people, kyoran-mono to depict suffering or distraction), 'iroe' (shosa, a conduct of Noh, short dance of the shite, a main role making the circuit of the stage silently before kuse), 'kirikumi,' and 'tachimawari' (also called hataraki and the stick drum is used in some tachimawari).
Japanese: 能管、小鼓、大鼓によって奏される働事には「カケリ」（翔）、「イロエ」（彩色）、「斬組」、「立廻り」（ハタラキともいう。また立廻りには太鼓入りもある）の四種がある。
English: However, we have to be careful when we use these names as they are called in different ways according to traditions or styles and kirikumi is sometimes called kakeri, or kakeri and tachimawari are included in iroe.
Japanese: なおこれらの名称は慣習や流儀によってさまざまに混用されており、斬組をカケリと称したり、カケリや立廻りをもイロエに含んだりすることもあるので、注意が必要である。
English: In this hataraki-goto, the shite who plays a spirit of busho (Japanese military commander) or a monogurui (mad people) moves round wildly in a state of high emotion and expresses the suffering of Shurado (World of Fighting and Slaughter) ("Yashima" or "Sakuragawa" [Sakura river] in which a heroine wonders about in a frenzy of grief).
Japanese: 武将の霊や物狂いなどのシテが精神の昂揚によってはげしく動きまわるもので、修羅道の苦患様子をうつしている（『屋島』や、狂乱のあまりにさすらい歩く『桜川』）。
English: It has no special ideographical implication and it is treated as an introduction to kuse or mai-goto Ryochukan no ji following it (therefore, it is usually omitted in Maibayashi [an abbreviated style of Noh]).
Japanese: 特に表意的な内容はなく、その後に続くクセや舞事呂中干ノ地などの序奏的なものとして扱われる（したがって舞囃子などでは通常略される）。
English: Like in "Kakitsubata" (The Iris, Noh play) or "Sakuragawa," this is often performed by women shite, but some are performed by men shite such as in "Yoroboshi" (The Beggar and His Savior) and this is performed after kuse in "Hana-gatami" (Flower Basket).
Japanese: 『杜若』『桜川』のように女のシテが多いが、『弱法師』のように男のシテが舞うものもあり、『花筐』ではクセの後に奏される。
English: It is one of hataraki-goto in which many Hitamen (face without mask) samurais are killing each other using a blade around the Noh shite and the Noh waki and the shite-kata who appear as the Noh shite and the Noh waki play roles of many other enemies and are got slashed to death by the shite and the Noh waki (On Noh stage, performers express getting slashed to death by performing anza [sitting quietly] or Hotokedaore [performance that represents death or falling unconscious] and fades from the stage).
Japanese: シテやワキなどを中心として、直面の武士などが多人数で斬りあう働事で、能シテ、能シテなどとして登場するシテ方は、その他大勢の敵役として、シテや能ワキなどに斬られる役回りである（舞台上では、安座や仏倒れなどを行って斬られたことを示したのち、能能舞台から退く）。
English: It is featured in "Shozon" and "Eboshiori," and others, in which many performers appear on the stage and appeal to the eye with resplendent atmosphere.
Japanese: 『正尊』『烏帽子折』などにあり、大人数を揃えて華やかな視覚的効果を狙う。
English: It is an ideographical shosa performed by the Noh shite or others to the accompaniment of hayashi according to the scene of the music.
Japanese: その曲の場面に応じて、シテなどが囃子に合わせて表意的な所作を行うもの。
English: Unlike other mai-goto and hataraki-goto, there is no fixed pattern of movement but each music has its different movement and, virtually, for classification of hataraki-goto, those that do not fall other categories are gathered together and called collectively tachimawari.
Japanese: 他の舞事・働事とちがって、固定した型があるのではなく、曲ごとに異なった型がついており、事実上、働事の分類のうえでほかの項目に入らないものをまとめて立廻りといっている。
English: Therefore, their expressions vary on music and it is difficult to list common features.
Japanese: したがってその表現する内容も曲によって異なり、共通の性格をいうことはむずかしい。
English: There are daisho-tachimaeari ("Kayoi Komachi," "Hyakuman" [A Million, a woman who went crazy with grief when she was separated from her child]) and tachimawari with taiko music ("Yamanba" [Mountain Witch]), and they are usually made up of no act and one melody part or one act and two melody parts, and the tsuzumi player plays noribyoshi and the fue player, Ashirai.
Japanese: 大小立廻り（『通小町』『百万』）と太鼓入り立廻り（『山姥』）があり、通常は無段または一段二節、鼓はノリ拍子、笛はアシライ。
English: In hataraki-goto played with nohkan, kotsuzumi, otsuzumi, and taiko, there are 'maibataraki,' 'uchiai-bataraki' (one scene in which the shite, a main role fighting with the tsure or the waki, a supporting role of maibataraki, dance with hayashi), 'inori' (in scenes in which a monk or Yamabushi, the waki uses magic to fend off an crazed witch, shite, inori, or prayer, refers to the movement in which the witch submits to the prayers of the monk or Yamabushi, a movement of the hayashi), and 'tachimawari' (see above).
Japanese: 能管、小鼓、大鼓、太鼓によって奏される働事には「舞働」、「打合働」、「イノリ」（祈）、「立廻り」（上記参照）がある。
English: As a general rule, the shite's role is limited to only ones of not human being but 'nonhuman being,' an unearthly things.
Japanese: 太鼓物の通例として、シテの役柄はことごとく人間ではない「異類のもの」に限られる。
English: It is one of hataraki-goto in which the shite who plays valiantly a role of nonhuman being such as a god, a dragon god, a tengu (a mountain spirit, portrayed as winged and having a long nose), or a kichiku (brute) performs dynamically and powerfully by expressing an numinous power.
Japanese: 神、龍神、天狗、鬼畜など異類のシテが、その神秘的な力を示して勇壮にたちはたらく働事で、特に勇壮活発に演じられる。
English: It is made up of one act and two melody parts or two acts and three melody parts, and the fue and the tsuzumi players both play noribyoshi and the fue player plays the musical score based on Ryochukan no ji.
Japanese: 一段二節または二段三節、笛・鼓ともにノリ拍子で、笛は呂中干ノ地をもとにした譜を吹く。
English: The shite often appears to hayafue (a music to indicate the entrance of a demonic deity, a Japanese flute performs in a dramatic and high tone, with small and large hand drums and a drum) and performs dynamically, but the shite in "Tamanoi" (Tama Well) performs especially slowly and quietly with grace of works or shosa.
Japanese: 多くシテは早笛で登場し、勢いよく演じるが、『玉井』のシテは特に位を重く、しずかに奏する。
English: It especially refers to the scenes in which mainly shite and tsure or waki play one-on-one battle among maibataraki ("Shari" [Noh], "Ryoko" [Noh]).
Japanese: 舞働のうち、特にシテとツレまたはワキが一対一で闘争する場面を主にしたものを指す（『舎利(能)』『龍虎(能)』）。
English: It is one of scenes of hatraki-goto in which the shite who plays an role of nonhuman being such as an oni (ogre), a vengeful spirit (vindictive ghost), or an evil spirit is prayed to subjugate by a monk or a yamabushi (a mountain priest) and the inori is included only in "Dojo-ji Temple" (Noh), "Aoi no Ue" (Lady Aoi), and "Kurotsuka" ("Hiun" [a Noh piece] is also included according to styles), and may be called inori in the order of shin-gyo-so (formal, semiformal, informal).
Japanese: 鬼、怨霊、悪霊など異類の怒り猛ったシテを僧、山伏などのワキが調伏する闘争のさまを描いた働事で、『道成寺(能)』『葵上』『黒塚』にしかなく（流儀によっては『飛雲』にもある）、順に真行草のイノリとされることもある。
English: It is made up of three acts and four melody parts and the tsuzumi player plays noribyoshi, the fue player, Ashirai, and taiko player, special tegumi (the rhythmic patterns of sound combinations of instrument and human voice) called inori-ji.
Japanese: 三段四節、鼓はノリ拍子、笛はアシライを吹き、太鼓はイノリ地と呼ぶ特殊な手組みを打つ。
English: There are "maibataraki" and "seme" (a play of Enma, a devil or Oni, an ogre accusing a sinner to the hell) in Daishomono and "kakeri" in Taikomono in Hataraki-goto for Kyogen.
Japanese: 狂言の働事には、大小物の「舞働」と「責メ」、太鼓物の「カケリ」がある。
English: Maibataraki is a performance resembling maibataraki in Noh and used for Fukujinmono, pieces of Gods of Good Fortune, such as "Ebisu Daikoku" (Two Happy Gods) or Ozeimono such as "Kasen" (The Six Famous Poets).
Japanese: 舞働は能の舞働を模したもので、『夷大黒』のような福神物か『歌仙』のような大勢物に用いられる。
English: Seme is a Kyogen-specific hataraki-goto in which an oni in the hell tortures severely the dead people and it is also used as a lesson for act at festival scene in "Uri nusubito" (The Melon Thief) in addition to Oni-Kyogen such as "Asahina" (A Worthy Man).
Japanese: 責メは地獄の鬼が亡者を責めたてる狂言独自の働事で、『朝比奈』のような鬼狂言のほかに、『瓜盗人』などで祭の出し物の稽古として用いられる。
English: Kakeri is a relatively simple performance of Noh kakeri and used in such as "Natori gawa" (The Name Stealing River).
Japanese: カケリは能のカケリをやや単純にしたもので、『名取川』などに使われる。
English: Wanyudo is a Japanese specter described in Konjaku Gazu Zoku Hyakki (Continued Illustrations of the Many Demons Past and Present), a collection of illustrations of specters by Sekien TORIYAMA.
Japanese: 輪入道（わにゅうどう）は、鳥山石燕の妖怪画集『今昔画図続百鬼』にある日本の妖怪。
English: It has the appearance of a wheel of an ox-drawn carriage, with a man's face positioned in the center, and is said to take out the soul of the person who looks at it.
Japanese: 炎に包まれた牛車の車輪の中央に男の顔が付いた姿をしており、その姿を見た者の魂を抜いていくとされている。
English: It is said that when one places a piece of paper indicating "Koko-wa Shobo-no Sato" on the door as a talisman, Wanyudo cannot go near the house; this derives from the anecdote in Shuyo Retsuden (a series of biographies of Shuyo) of Shiki (the Chinese Historical Records), according to which So-shi, a disciple of Koshi, the founder of Confucianist in China, disliked Shobo-no Sato and did not set his foot in the place because of the name suggesting "to win against mother".
Japanese: 「此所勝母の里」と書いた紙を呪符として家の戸に貼ると、輪入道が近づくことができないといい、これは中国の儒家の始祖・孔子の門人である曾子が「母に勝つ」の名を嫌って勝母の里に足を踏み入れなかったという『史記』「鄒陽列伝」での逸話が由来とされている。
English: Wanyudo by Sekien is said to be a specter called "Katawa-Guruma", which looks like a wheel and is said to have appeared in Kyoto's Higashinotoin-dori Street according to "Regarding Katawa-Guruma in Higashi-no-toin, Kyoto" (from Vol. 1 of "A hundred stories from the provinces", which is a collection of ghost stories published in 1677); therefore, one possible interpretation is that Wanyudo and Katawa-Gurumaare, which were depicted as different specters in "Konjaku Gazu Zoku Hyakki", are actually one and the same.
Japanese: 石燕の輪入道は、延宝5年刊行の怪談集『諸国百物語』巻一「京東洞院かたわ車の事」で、京都の東洞院通に現れたという車輪の妖怪「かたわ車」のことを描いたものとされており、『今昔画図続百鬼』で別々の妖怪として描かれている片輪車と輪入道を同一のものとする解釈もある。
English: Katawa-Guruma was depicted as a female following the publication of a book covering a wide range of topics entitled "Shokoku Rijin Dan" (literally, "tales of villagers from various provinces) in 1743.
Japanese: 寛保3年の雑書『諸国里人談』の刊行から片輪車が女性として描かれ始めている。
English: There is a theory that in 1677, the year in which "A hundred stories from the provinces" was published, Katawa-Guruma was separated into the two different specters of Kagawa-Guruma and Wanyudo.
Japanese: 『諸国百物語』の刊行年である延宝5年を起点として、同一のものである片輪車が、片輪車と輪入道という2つの妖怪に分岐したとの説もある。
English: A folkloric spider monster in Japan (also called 'Yatsukahagi' or 'Ogumo')
Japanese: 日本に伝わる巨大なクモの妖怪で、別名「八握脛（やつかはぎ）」「大蜘蛛（おおぐも）」。
English: A family of tarantula, which falls under the category of the big ground spider living in the tropical region abroad, was given the Japanese name "Tsuchigumo" after the above-mentioned meanings, but this name was given later in the modern age, so the family of tarantula has nothing to do with "Tsuchigumo" mentioned here.
Japanese: また、海外の熱帯地方に生息する大型の地表徘徊性蜘蛛のグループタランチュラ科は、これらに因んで和名が付けられているが命名は後年近代に入ってからであり、直接的にはやはり無関係である。
English: Tsuchigumo was the derogatory name of indigenous hero in ancient Japan who did not swear allegiance to the emperor.
Japanese: 古代日本における、天皇への恭順を表明しない土着の豪傑などに対する蔑称。
English: In "Kojiki" (The Records of Ancient Matters) and "Nihonshoki" (Chronicles of Japan), the name 'tsuchigumo' appears.
Japanese: 『古事記』『日本書紀』に「土蜘蛛」または「都知久母（つちぐも）」の名が見られる。
English: The name frequently appears in "fudoki" (description of regionalclimate, culture, etc.) of various provinces, such as that of Mutsu Province, Echigo Province, Hitachi Province, Settsu Province, Bungo Province and Hizen Province.
Japanese: この名は、陸奥国、越後国、常陸国、摂津国、豊後国、肥前国など、各国の風土記などでも頻繁に用いられている。
English: When Emperor Keiko visited Shiki-shima Island (the present Hirado-shima Island) in AD 72, he saw smoke rising from another island, so he had his retainers examine who lived there, and he found that tsuchigumo called "Omimi" lived in Kojika-jima Island and that another tsuchigumo called "Tarimimi" lived in Ojika-jima Island;
Japanese: 景行天皇が志式島（しきしま。平戸島）に行幸（72年）した際、海の中に島があり、そこから煙が昇っているのを見て探らせてみると、小近島の方には大耳、大近島の方には垂耳という土蜘蛛が棲んでいるのがわかった。
English: Then, the emperor captured them, and when the emperor was about to execute them, they prostrated themselves on the ground, offered marine products, pledged to dedicate products to the emperor thereafter, and asked for forgiveness.
Japanese: そこで両者を捕らえて殺そうとしたとき、大耳達は地面に額を下げて平伏し、「これからは天皇へ御贄を造り奉ります」と海産物を差し出して許しを請うた、という。
English: And 'Bungo no kuni fudoki' (the topography of Bungo Province) describes many tsuchigumo, such as "Itsumahime" on Mt. Itsuma; "Uchisaru," "Unasaru," "Yata" and "Kunimaro," all of which were in Negino; "Shinokaosa" and "Shinokaomi," both of which were in Amishino; and "Ao" and "Shiro," both of which were in "Nezumi no Iwaya."
Japanese: また、「豊後国風土記」にも、五馬山の五馬姫（いつまひめ）、禰宜野の打猴（うちさる）・頸猴（うなさる）・八田（やた）・國摩侶、網磯野（あみしの）の小竹鹿奥（しのかおさ）・小竹鹿臣（しのかおみ）、鼠の磐窟（いわや）の青・白などの多数の土蜘蛛が登場する。
English: And a theory says that the Imperial Court called those who forced war against the Imperial Court "oni" (a demon) or "tsuchigumo" from ancient times, and that the court despised - and feared - them.
Japanese: また一説では、神話の時代から朝廷へ戦いを仕掛けたものを朝廷は鬼や土蜘蛛と呼び、朝廷から軽蔑されると共に、朝廷から恐れられていた。
English: Among others, tsuchigumo on Mt. Yamato-Katsuragi is well-known.
Japanese: 土蜘蛛の中でも、奈良県の大和葛城山にいたというものは特に知られている。
English: Within the precincts of Katsuragi Hitokotonushi-jinja Shrine on Mt. Yamato-Katsuragi, there exists a burial mound called "Tsuchigumo-zuka," and it is said that Emperor Jinmu captured tsuchigumo and buried separately the parts of their dead bodies (the head, the trunk and the limbs) for removing their curses (cf. the section of "Surging waves of the march" in the article of "Emperor Jinmu").
Japanese: 大和葛城山の葛城一言主神社には土蜘蛛塚という小さな塚があるが、これは神武天皇が土蜘蛛を捕え、彼らの怨念が復活しないように頭、胴、足と別々に埋めた跡といわれる（神武天皇怒濤の進撃も参照）。
English: In general, tsuchigumo is said to have been short in stature and had long limbs, and to have lived in caves.
Japanese: 一般に土蜘蛛は、背が低く、手足が長く、洞穴で生活していたといわれる。
English: It seems that the name tsuchigumo was associated with their physiques and the cave-dwelling life--mainly based on hunting and gathering instead of farming--of the Jomon people (in the Neolithic Age), and this association is supposed to be the cause of people's disdain for tsuchigumo.
Japanese: これは縄文人の体形と、農耕ではなく狩猟や採集を主とする穴居生活から連想されたものらしく、このような生活習慣の違いなどが人々からさげすまれた原因とも考えられている。
English: It is said that Tsuchigumo had a demon's head, a tiger's trunk and spider's limbs.
Japanese: 人前に現われる姿は鬼の顔、虎の胴体に長いクモの手足の巨大ないでたちであるともいう。
English: It is said that every Tsuchigumo lives in a mountain, ties up a hiker firmly with its thread and preys on them.
Japanese: いずれも山に棲んでおり、旅人を糸で雁字搦めにして捕らえて喰ってしまうといわれる。