nntsuzu/KFTT huggingface dataset:
English: Saying that he would catch the ogre, the doji waited at shoro one night, and as soon as it appeared in the predawn hours, he caught the ogre by the hair and dragged it about.
Japanese: 童子は自分が鬼を捕まえて見せると言い、ある夜に鐘楼で待ち構え、未明の頃に鬼が現れるや、その髪の毛を捕えて引きずり回した。
English: When bloodstains were followed, they led to a grave of a rascal manservant who once worked at Gango-ji Temple.
Japanese: 血痕を辿って行くと、かつて元興寺で働いていた無頼な下男の墓まで続いていた。
English: The doji made other accomplishments using his marvelous strength and entered the Buddhist priesthood, and was called Buddhist monk Dojo.
Japanese: この童子は後にも怪力で活躍をした末に得度出家し、道場法師となったという。
English: According to an old book written during the Edo period, Gagoze/Gagoji, which is a children's term for ghosts, originated in this Gango-ji Temple; in fact, children's terms for specters, such as Gagoze/Gagoji/Gangoji can be found in various places in Japan.
Japanese: 江戸時代の古書によれば、お化けを意味する児童語のガゴゼやガゴジはこの元興寺が由来とされ、実際にガゴゼ、ガゴジ、ガンゴジなど、妖怪の総称を意味する児童語が日本各地に分布している。
English: However, this theory is denied by a folklorist named Kunio YANAGIDA, who stated the theory in which the terms originated from the monster appearing as it said "I'm going to bite you" ("kamo-zo" in Japanese, which developed into the above-mentioned terms under the influence of dialect, etc.).
Japanese: しかし民俗学者・柳田國男はこの説を否定し、化け物が「咬もうぞ」と言いながら現れることが起因するとの説を唱えている。
English: Kazarimusubi is a traditional craft which was originally learned from China and was developed in Japan.
Japanese: 飾り結びは、中国から伝わった結びをもとに日本で発達した伝統工芸である。
English: Kazarimusubi is often referred to as 'kumihimo,' which is in fact a craft of braiding threads together to make cords, and therefore is not a same thing as kazarimusubi that is made by making knots with cords.
Japanese: 一般に組み紐と呼ばれることも多いが、組み紐は糸を組んで紐を作る工芸であり、紐を結んで作る飾り結びとは別である。
English: Japanese kazarimusubi has two origins: one is a several types of decorative knots which were brought into the country together with the teaching of Buddhism, and the other is the red and white hemp cords which decorated the gifts brought back to Japan by a Japanese envoy to Sui Dynasty China (this is same as mizuhiki, or decorative strings).
Japanese: 日本の飾り結びは、仏教とともに伝わったいくつかの結びと、遣隋使が持ち帰った下賜品に結ばれていた紅白の麻紐が起源とされる（水引と同じ）。
English: Although Japanese kazarimusubi are often similar to Chinese decorative knots, there are many kazarimusubi that were invented in Japan.
Japanese: 飾り結びは中国のものと共通するものも多いが、日本で独自に考案されたものも数多くある。
English: Especially in sado (tea ceremony), many kinds of kazarimusubi were invented and used for the purpose of closing and decorating shifuku (tea caddy bag) and they also functioned as a key to seal the bag in the way that it cannot be opened easily.
Japanese: 特に茶道においては、仕服を封じる紐に飾り結びを施すことで、装飾性を増すとともにみだりに開封できないようにする鍵の役目を持つ結びが多数考案された。
English: "Heike nyogo no shima" (The Heike and the Island of Women) is ningyo joruri (traditional Japanese puppet theater) created by Monzaemon CHIKAMATSU.
Japanese: 『平家女護島』（へいけにょごがしま）は、近松門左衛門作の人形浄瑠璃。
English: It is based on ""Heike Monogatari" (The tale of the Heike) and Yokyoku (Noh song), "Shunkan," and was significantly reformed.
Japanese: 『平家物語』や謡曲『俊寛』を題材にして、そこに大幅に改編を加えている。
English: In Nidanme (the second act) of the play, `Toba no tsukurimichi no ba (Scene of constructing a road in Toba) Kikaiga-shima Island,' is famous, and today, only this part is performed with the title commonly known as "Shunkan."
Japanese: 二段目の「鳥羽の作り道の場、鬼界が島」が有名で、現在ではこの段のみが『俊寛』（しゅんかん）の通称で上演される。
English: Three years has already passed since the three, Shunkan, Naritsune, and Yasuyori, who contrived the Shishigatani plot to overturn the Taira family, were transported to Kikai ga-shima Island.
Japanese: 鹿ヶ谷の陰謀を企て平家転覆を企んだ俊寛・成経・康頼の三人は、鬼界ヶ島に流され早三年。
English: They managed to survive by selling sulfur to boats which rarely came and eating seaweed.
Japanese: たまにくる九州からの船に硫黄を売ったり、海草を食べたりして食をつないでいた。
English: The story unfolded as Naritsune confessed to the other two that he would marry Chidori, a woman diver living on the island.
Japanese: 物語は、この地に住む海女千鳥と結婚することを成経が打ち明けるところから始まる。
English: The three and Chidori were happy that something good had happened since they had been sent to the island.
Japanese: 島にきて以来の絶望的な状況の中起こった、数少ない幸福な出来事を歓びあう三人と千鳥。
English: Shunkan repeatedly looked for his name in the letter of amnesty, but it wasn't there.
Japanese: 俊寛は赦免状を手に取り何度も内容を確認するが、やはり自分の名前だけが見当たらない。
English: Kiyomori's anger was deep, and therefore, Kiyomori didn't grant Shunkan amnesty.
Japanese: 清盛の俊寛に対する怨みは深く、それゆえ俊寛だけが恩赦を受けられなかったのだ。
English: Then, another envoy of the shogun, Motoyasu came down from the boat, and he said that a letter of amnesty was given to Shunkan, too.
Japanese: だがそこへ一人の上使の基康が船から降りてきて、俊寛にも赦免状が降りたことを伝える。
English: TAIRA no Shigemori, who couldn't bear to see that Shunkan had not been granted amnesty, had written another letter of amnesty for Shunkan.
Japanese: 俊寛にだけ恩赦が与えられないのを見兼ねた平重盛が別個に俊寛にも赦免状を書いていたのだ。
English: The three were relieved, and got on the boat, then, Seno stopped chidori getting on the boat.
Japanese: そう安堵して三人が船に乗り込み、千鳥がそれに続こうとすると、妹尾がそれを止める。
English: Seno, again, coldly said that Chidori, who would be the fourth, was not allowed to get on the boat as it was written that `The three can get on the boat' in the letter of amnesty.
Japanese: 妹尾がまたも憎々しげに言うには、重盛の赦免状に「三人を船に乗せる」と書いてある以上、四人目に当たる千鳥は乗せることはできないというのだ。
English: According to Seno, Shunkan's wife azuma-ya had been killed by the order of Kiyomori while Shunkan was on the island under sentence.
Japanese: 妹尾が言うには、俊寛が流されている間に、清盛の命により俊寛の妻の東屋が殺されてしまったのだ。
English: Shunkan, who didn't want to go back to the capital without his wife, asked Seno to let Chidori get on the boat instead of Shunkan of him
Japanese: 妻のない都にもはや何の未練もなくなった俊寛は、自分は島に残るから、かわりに千鳥を船に乗せてやるよう妹尾に訴える。
English: Then, Shunkan asked Motoyasu to have Chidori get on the boat for him as he would remain on the island for having killed Seno.
Japanese: そして妹尾を殺した罪により自分は流罪を続けるから、かわりに千鳥を船に乗せるよう、基康に頼む。
English: However, as the boat started to move, Shunkan was overwhelmed by a burst of loneliness, and went out of his mind.
Japanese: しかしいざ船が動き出すと、俊寛は言い知れぬ孤独感にさいなまれ、半狂乱になる。
English: Even after the boat was far enough to be unable to hear his voice, then he climbed up on a rock to keep tracing the direction of the boat.
Japanese: 声が届かなくなると、なおも諦めずに岩山へと登り、船の行方を追い続ける。
English: "Shunkan" is based on the third volume, `Ashizuri' (stamp the ground in frustration) of "Heike Monogatari," but the story was extensively reformed.
Japanese: 『俊寛』は『平家物語』巻の三「足摺り」を題材にしているが、内容的には大幅な創作が加えられている。
English: In "Heike Monogatari" (The tale of the Heike), only Shunkan remains on the island, which is the same ending as "shunkan."
Japanese: 最後に俊寛のみが島に残るという結末は『平家物語』でも『俊寛』でも同じである。
English: In "Heike Monogatari" (The tale of the Heike), Motoyasu read aloud the letter of amnesty with no feeling, and then the boat departed without Shunkan.
Japanese: 『平家物語』では基康が清盛の赦免状をたんたんと読み上げた後、俊寛のみを残して船を出す。
English: Shunkan stamped the ground with tears like a child, but the boat was cruelly gone.
Japanese: 俊寛は子供のように足摺りして涙ながらに船を止めようとするが、無情にも船は消えてしまう。
English: In the scene of `Ashizuri' (stamping the ground) of "Heike Monogatari" (The tale of the Heike), Shunkan was determined to remain in the island by force.
Japanese: この「足摺り」の場面では俊寛は否応なしに島に残ることになってしまっている。
English: This comes from the nature of "Heike Monogatari" (The tale of the Heike) which is referred to as the literature of transience, and the weakness of Shunkan who was tossed about by the fate was emphasized.
Japanese: 滅びの文学である『平家物語』らしく運命に翻弄される俊寛の弱さが強調されている。
English: On the other hand, in "Shunkan," Shunkan remained on the island on his own will even after he killed someone.
Japanese: 一方『俊寛』では、俊寛は自らの意思により人を殺してまでも島に残っている。
English: CHIKAMATSU had a good reputation for this play, in which the weakness and lingering affection of Shunkan, who remained in the island on his own will, but suddenly, he started to scream as soon as the boat departed, was depicted, without ending the story at the time Shunkan decided to remain in the island.
Japanese: 自らの意思により島に残った俊寛だったが、物語をそこで終わらせることなく、船が出発するや一転して泣き叫ぶ俊寛の弱さと未練をも描いた近松の筆が高く評価されている。
English: In Kabuki, the stage was covered in a light brown cloth to express the land at the beginning of the play, while the cloth was removed and the stage immediately turned out to be the sea when Shunkan climbed on a rock turning to the audience in the last scene, which brought about a great producing effect.
Japanese: 歌舞伎では、芝居が始まったときは舞台に薄茶の布がしかれて陸地が表現されているのが、最後に俊寛が岩山に登るシーンでこの布が取られ、芝居が一瞬にして海へと転じ、同時に岩山がぐるりと回って俊寛が客席の方を向くという効果的な演出になっている。
English: `Shosadate' (Tchimawari which is incorporated into Buyo works), the scene of Shunkan having a sword fight with Seno in time of Joruri (dramatic narrative chanted to a shamisen accompaniment) is one of highlights of the play.
Japanese: 妹尾との斬り合いの場面では浄瑠璃に合わせて斬り合いが行われる「所作伊逹」が見どころ。
English: The story is set in Kikai ga-shima Island, which is made more realistic by using a lot of Satsuma dialect in the dialogue of Chidori.
Japanese: 千鳥の台詞に薩摩弁を多用することで、鬼界ヶ島が舞台であることに現実味を持たせている。
English: Furiuri is a form of commerce which was actively practiced up to recent times in Japan.
Japanese: 振り売り・振売りとも)は、近世までの日本で盛んに行われていた商業の一形態。
English: This form of commerce was called furiuri ("furi" literally means "swing" and "uri" means "sell") derived from the image of vendors who walk around to sell goods and services while shouldering a carrying pole with bamboo sieves, wooden buckets, wooden boxes or baskets hung at both ends.
Japanese: ざる、木桶、木箱、カゴを前後に取り付けた天秤棒を振り担いで商品またはサービスを売り歩く様からこう呼ばれる。
English: This business which had been already called 'furiuri' or 'botefuri' in the Muromachi period reached its peak in the Edo period when the Tokugawa shogunate governed Japan.
Japanese: 室町時代からすでに「振売」「棒手振り」(ぼてふり)と呼ばれていたこの業態が最盛期を迎えたのは徳川幕府の治める江戸時代であった。
English: The city of Edo was originally built based on the shogunate plan and then developed by building a warrior's district around Edo-jo Castle and allowing merchants and craftsmen to move to the city.
Japanese: 江戸はもともと幕府の計画によって造られた都市で、初期は江戸城を中心として周囲に武家地を造り、そこに商人や職人を移住させる形で発展していった。
English: From the start, however, a large amount of food had to be supplied from outside to samurai emerging as the biggest consumer's class from the shogun down that did not conduct productive activities at all under the hierarchical system of Shinokosho (samurai, farmers, artisans, and merchants).
Japanese: しかし、士農工商の階級システムによって現れた、将軍を筆頭にして、まったく生産的活動を行わない巨大な消費階級である武士たちのために、大量の食料品を外から供給する必要に初めから迫られていた。
English: Since then, an increasing number of people immigrated into Edo and ninsoku (laborer) who came for restoration work after massive fires settled down.
Japanese: そしてその後も、世の中が平和になるにつれて江戸に移住する人が増えたり、大火事が起きて復興作業のためにやってきた人足たちがそのまま住み着いたりし続けた。
English: As a result, Edo Ninbetsu Aratame in 1743 (population survey in the Edo period) shows that Edo was populated by 310,000 male and 215,000 female townspeople and samurai adding up to more than 1 million.
Japanese: その結果、1743年の江戸人別改によれば男性の町人31万、女性21万5千、そこに武士を足せば100万を超えるほどの人口が江戸に集まることになったのである。
English: In order to supply food to every corner of Edo, the most highly populated city in the world beyond London and Paris that were the most advanced cities in those days, the distribution was developed into a big, complicated and fine system, and people categorized into business called the furiuri were at the lowest end of the system.
Japanese: 当時最先端の都市であったロンドン、パリを超えた世界最大級の人口密度を持った江戸の街の隅々に食料を供給するために、流通システムも巨大で複雑で細かなものに発展していき、そのシステムの末端が、振売と呼ばれる業種の人々だった。
English: The characteristic of the furiuri is to walk around to sell mainly raw ingredients, seasonings or ready-made food without carrying a fire, and it was the easiest business to begin among the food business because special technique or knowledge and rights to set up a shop were not required.
Japanese: 振売は火気を持ち歩かず、主に生の食材や調味料、調理済みの食品を売り歩くのが特徴で、食品を扱う商売のなかでも、特別な技術や知識が不要、店を構えるための権利なども不要だったので、いちばん簡単に開業できた。
English: For that reasons, the furiuri was though to be a job for the socially vulnerable, and the bakufu issued a law that gave people aged 50 and over, or 15 and under, and people with disabilities permission to start the furiuri.
Japanese: そのため振売は社会的弱者のための職業とされており、幕府は振売のための開業許可を50歳以上か15歳以下の人物、そして身体が不自由な人物に与える、と触れ書きを出した。
English: The 'Morisadamanko' written for about 30 years since 1837 and considered as the first-rate historical material to study early-modern folkways describes the furiuri as "a commoner's job to walk around the city with a cry while carrying products on the shoulder or back in three cities (Edo, Kyoto and Osaka)," which shows that the socially vulnerable were able to make living by doing the furiuri healthily.
Japanese: 1837年(天保8年)から約30年間書き続けられ、近世風俗研究のための第一級史料とされる「守貞漫稿」には振売について"三都(江戸・京都・大坂)ともに小民の生業に、売物を担い、あるいは背負い、市街を呼び巡るもの"とあり、社会的弱者も振売によって健全に働き、生活できていたことがうかがえる。
English: The Morisadamanko also says "a fish peddler walks around and cries lively everyday, saying 'sea bream, raw octopus, and red sea beam'," which allows us to guess what a fish peddler did.
Japanese: また守貞漫稿には"平日より華やかに高く呼ぶ其の詞(ことば)に曰く「たいやたい、なまだこ、まだいー」と呼び行く也"と、魚売りのようすをうかがい知れる文章も残されている。
English: Peddlers were not limited in places to do their business, and were so everywhere around Edo that there were few pages without illustrations of the peddlers in the 'Edo Meisho Zue' (the topography consisting of 20 books in 7 series in the Edo period written from 1834 to 1836).
Japanese: 振売は商売をする場所が決まっておらず「江戸名所図会」などは振売の描かれていないページのほうが少ないほど、彼らは江戸市中いたるところにいた。
English: As mentioned above, people aged 50 and over or 15 and below alone were allowed to do the furiuri by the law, but the peddler illustrations for the Morisadamanko did not obviously look like people in those age groups and after all, commoners in Edo seemed to do the business in disregard of the bakufu's order.
Japanese: 前述の通り、法律に従えば50歳以上と15歳以下の人間しか振売を開業する事はできないが、守貞漫稿のイラストにある振売たちはどう見てもその年齢には見えず、けっきょく江戸の庶民たちは幕府の命令を聞き流して商売していたフシがある。
English: The bakufu might have had no choice but to turn blind eyes to the unlawful furiuti because strict control over the unlawful furiuri would result in inconvenient life of samurai society as well as commoners and the bakufu did not have enough manpower to catch every lawful furiuri in Edo.
Japanese: だが、それを強烈に取り締まると、庶民はおろか武士階級の暮らしも非常に不便になるし、さらに幕府には江戸市中の違法な振売を片っ端から捕まえるだけのマンパワーもなく、見て見ぬフリをするしかなかったのだろう。
English: It is hard to list all of them, but the furiuri dealing with the following foods were introduced: Deep-fried tofu, fresh fish, stockfish, shellfish, tofu, soy sauce, red peppers, sushi (Fig. 2), amazake (sweet mild sake), matsutake mushrooms, zenzai (rice cake with red bean paste), shiruko (sweet red-bean soup with pieces of rice cake), shiratama (rice-flour dumplings), natto, nori (a sheet of dried laver), and boiled eggs.
Japanese: 油揚げ、鮮魚・干し魚、貝のむきみ、豆腐、しょうゆ、とうがらし、すし(図2)、甘酒、松茸、ぜんざい、しるこ、白玉、納豆、海苔、ゆで卵など、全部は書ききれない。
English: When the 'Morisadamanko' is read more, it would appear that it was easy to develop new products to start the business if they came up with ideas and exercised a little ingenuity during the time when there were no troublesome laws such as Utility Model Act and Patent Act.
Japanese: 「守貞漫稿」を読んでいくと、アイデアがあって少し工夫をすれば、実用新案法や特許法などという煩雑な法律のなかった時代のこと、新商品を作り出して商売を始めるのは容易だったと思われる。
English: A 'cold water peddler' in particular is introduced like this, "On a summer day, the vendors take water from a pure fountain and sell it with white soft sugar and rice-flour dumplings for four mon (unit of currency) per bowl, or eight mon at customer's request, and more sugar is added if it is sold for twelve mon.
Japanese: 中でも「冷水売り」は"夏日、清冷の泉を汲み、白糖と寒さらし粉の玉を加え一椀四文で売る、求めに応じて八文、十二文で売るときは糖を多く加える也。
English: Vendors usually sell water with sugar alone for six mon per bowl without dumplings, and they are called a sugar water peddler, not a cold water peddler."
Japanese: 一椀たいがい六文、粉玉を用いず白糖のみを加え、冷や水売りと言わず砂糖水売りと言う"と紹介されている。
English: All they had to do was just to take clean water from somewhere and sell it with sugar.
Japanese: 何のことはなく、要するにどこかできれいな水を汲んできて、砂糖を入れて売るだけである。
English: It is interesting to see that the price of the water was six mon even without dumplings, which it should be said is Osaka all over.
Japanese: さすが大坂と言うべきか、白玉も入っていないのに値段が六文なのが興味深い。
English: Sugar might have been relatively expensive as a material cost, but it might have been enough to earn it back if they worked with a lot of effort because water was free.
Japanese: 材料費として砂糖は少々いい値だったかも知れないが、もういっぽうの水はタダなので、精を出せば元を取るには充分だったかも知れない。
English: The furiuri gives seemingly cheap, strong and heartwarming impression, but there were some dishonest peddlers as usual.
Japanese: こうした一見チープな、たくましさとほほえましさも感じる振売だが、今も昔も変わらず、悪徳な商売をする振売もいた。
English: Those peddlers are what is called in the 'Morisadamanko' 'ayashiuri' which is described as "peddlers deceiving customers to sell fakes."
Japanese: 「守貞漫稿」で「妖売」とあるのがそれで、"これは種々の贋物を欺き売るを業とする者也"とある。
English: The 'Morisadamanko' says "the ayashiuri takes meat from chicken and goose to sell tofu refuse as meat and some of them commit different types of frauds."
Japanese: "鶏、雁などの肉を去り、豆腐殻などを肉として売り、この類、そのほか種々の謀計を旨とする也"と書かれている。
English: What exactly they sold is not sure because the article does not have illustrations, but they might have sold chicken stuffed with tofu refuse.
Japanese: この項目にはイラストが入っていないので具体的にどういう物を売っているのかわからないが、皮だけにした鶏の中におからを詰めて売っていたのかも知れない。
English: In addition to the food peddlers, the 'Morisadamanko' introduces other furiuri dealing with daily necessities including brooms, flowers, wind bells, copper containers, moxa, calendars, ink, barrels, tubs, kindling woodchips, baskets, mosquito nets, sandals, straw raincoats and hats, garden trees, small drums, soap bubbles, gold fish, insects such as bell cricket and pine cricket, varicolored golden carps as well as children's toys, and on top of that, pet peddlers are introduced.
Japanese: 「守貞漫稿」には食品以外にもほうき、花、風鈴、銅の器、もぐさ、暦、筆墨、樽、おけ、たき付け用の木くず、ざる、蚊帳、草履、みのかさ、植木、小太鼓、シャボン玉、金魚、鈴虫・松虫などの昆虫、錦鯉など日用品や子供のおもちゃ、果てはペットを商う振売も紹介されている。
English: The furiuri includes 'bamboo pole peddlers' who still exist now, and 'shobuzuke-uri peddlers' who sold prompt report on the results of sumo matches are introduced too.
Japanese: その中には現代も残っている「さおだけ売り」も入っていたり、相撲の勝負の結果を早刷りにして売る「勝負付売り」も紹介されている。
English: Rice balls are usually topped with rolled eggs, abalone, fatty tuna, seasoned shrimp powder, small sea bream, spotted shad, ice fish and octopus.
Japanese: 握り飯の上に卵焼き、アワビ、マグロの刺身、エビのそぼろ、小鯛、こはだ、白魚、タコなどが普通。
English: Kenukizushi refers to nigiri sushi pressed in a low, striped bamboo, which costs around six mon a piece.
Japanese: また、毛抜きずしと言うのは握りずしを一つずつ熊笹に巻いて押してあり、一つで六文ぐらい。
English: Some peddlers sold the kenukizushi at high price ranging from four to five mon and up to sixty mon a piece.
Japanese: 他に毛抜きずしを高く売るものが多く、一つで四文から五、六十文ぐらいまでした。
English: After that, it was four or eight mon, but some peddlers sell it for thirty mon because the regulations have been relaxed recently.
Japanese: その後は四文八文だったが、近年命令がゆるんで、二～三十文のすしを作る者がいる
English: As commoners led a luxurious life, seeing it as life beyond their means, the Edo shogunate often cracked down on it and arrested sushi chefs for making expensive sushi costing as much as sixty mon a piece.
Japanese: 江戸幕府は、庶民の暮らしが豪華になるとそれを「身分不相応」として取り締まることが多くあり、1つ六十文もするような高級なすしを作る職人を捕らえたとある。
English: The 'Morisadamanko' says that it happened in the Tenpo era, but it is not certain whether the Tenpo Famine or Tenpo Reforms triggered the crackdown.
Japanese: これは天保年間のことと書いてあるが、天保の大飢饉の影響か、それとも天保の改革のためなのかは不明である。
English: Besides the furiuri dealing with foods and daily necessities, there were peddlers who walked around to provide services necessary to daily life and buy certain types of goods.
Japanese: 食品、日用品を売るほかに、生活の中で必要なサービスを売り歩くもの、ある種の物品を買い歩くものも存在した。
English: The former peddlers provided services such as repairing locks, fixing pairs of glasses, mending cracked pans, giving massage, mending clog supports, polishing mirrors, mending cracked pottery, re-tightening hoops on barrels, catching rats, fixing abacuses, repairing wooden frames of kotatsu, mending a braid of haori (a Japanese half-coat), repairing andon (a lamp with a paper shade) and chochin (Japanese paper lantern), and writing letters on nameboards.
Japanese: 前者は錠前直し、メガネ直し、割れ鍋直し、あんま、下駄の歯の修繕、鏡磨き、割れた陶器の修繕、たがの緩んだ樽の修繕、ねずみ取り、そろばんの修理、こたつやぐらの修繕、羽織の組紐の修繕、行灯と提灯の修繕、看板の文字書きなど。
English: Those peddlers are not different from ordinary furiuri at all in that they walk around with fixing tools and material boxes hung at a pole on their shoulder.
Japanese: 修理用の道具や材料を入れた箱などを天秤棒にぶら下げて歩く姿は普通の振売と全く変わらない。
English: The latter peddlers walked around to buy paper wastes, ashes in furnace, used clothes, old umbrellas, and residues of melted candle wax.
Japanese: 後者は紙くず、かまどの灰、古着、古傘、溶けて流れ落ちたろうそくのカスを買い歩く。
English: Old umbrellas were remade for reuse and candle wax residues could be sold as new candles if new wicks were put in them after collected and melted.
Japanese: 古傘は張り直して使い、ろうそくのカスは集めて溶かして芯を入れ直せば新しいろうそくとして売り出せる。
English: The furiuri reflects the aspect of thorough recycling and reusing society in the Edo period which is like there were nothing to discard.
Japanese: 捨てるものなどないかのような、江戸時代の徹底的なリサイクル、リユース社会としての側面もうかがうことができる。
English: generally means intangible cultural products produced by human cultural activities in a broad sense.
Japanese: 広義では、人類の文化的活動によって生み出された無形の文化的所産全般を意味する。
English: In a narrow sense, it means intangible cultural products such as music and applied arts, which belong to one category of cultural properties specified by the Act on Protection of Cultural Properties of Japan or ordinances of local public bodies.
Japanese: 狭義では、日本の文化財保護法や地方公共団体の条例における文化財の種類のひとつで、音楽や工芸技術などの無形の文化的所産を意味する。
English: In particular, it means 'intangible cultural properties' provided by Article 2, Paragraph 1, Item (2) of the Act on Protection of Cultural Properties.
Japanese: 特に、文化財保護法第2条第1項第2号において規定された「無形文化財」を意味する。
English: Article 2, Paragraph 1, Item (2) of the Act on Protection of Cultural Properties defines 'intangible cultural properties' as art and skill employed in drama, music and applied arts, and other intangible cultural products which possess a high historical and/or artistic value in and for Japan.
Japanese: 日本の文化財保護法第2条第1項第2号では、演劇、音楽、工芸技術その他の無形の文化的所産で、日本国にとって歴史上又は芸術上価値の高いものを、「無形文化財」と定義している。
English: Similarly, some ordinances of local public bodies specify 'intangible cultural properties' as one category of cultural properties.
Japanese: 地方公共団体の文化財保護条例等においても同様に、文化財の種類の一つとして「無形文化財」を規定している場合がある。
English: The Act on Protection of Cultural Properties stipulates a protection system in which among intangible cultural properties, important intangible cultural properties and 'intangible cultural properties requiring special measures such as the creation of records' are selected and holders or holder groups of the designated properties are recognized and protected.
Japanese: 文化財保護法では、無形文化財の中から重要無形文化財および「記録作成等の措置を講ずべき無形の文化財」を指定および選択し、指定された重要無形文化財の保持者または保持団体を認定し、保護する制度を定めている。
English: Important intangible cultural properties (Article 71, Paragraph 1): The Minister of Education, Culture, Sports, Science and Technology may designate important items of intangible cultural properties as 'important intangible cultural properties.'
Japanese: 重要無形文化財（第71条第1項）：文部科学大臣は、無形文化財のうち重要なものを「重要無形文化財」に指定することができる。
English: The Commissioner of the Agency for Cultural Affairs may, whenever he deems it necessary for preservation of important intangible cultural properties, take measures for creation of records of important intangible cultural properties and training of successors and other appropriate measures required for preservation thereof.
Japanese: 文化庁長官は、重要無形文化財の保存のため必要があるときは、重要無形文化財について記録の作成、伝承者の養成その他その保存のため適当な措置を執ることができる。
English: Holders or holder groups of important intangible cultural properties (Article 71, Paragraph 2): The Minister of Education, Culture, Sports, Science and Technology shall, in making the designation of important intangible cultural properties, recognize the holders or holder groups of such important intangible cultural properties.
Japanese: 重要無形文化財の保持者又は保持団体（第71条第2項）：文部科学大臣は、重要無形文化財を指定するに当たっては、その重要無形文化財の保持者または保持団体を認定しなければならない。
English: Forms of recognition of holders include individual recognition in which each individual holder is recognized, and collective recognition in which two or more individuals are recognized as one holder group.
Japanese: 保持者認定には、個人を各個別に認定する各個認定と、複数の保持者を一体として認定する総合認定がある。