nntsuzu/KFTT huggingface dataset:
English: Also, there is "Shinpen Nihon koten bungaku zenshu 4.2" from Shogakukan Inc., includes "Saibara" translated and noted by Jingoro USUDA.
Japanese: 小学館『新編日本古典文学全集.42』にも、臼田甚五郎校注・訳で『催馬楽』がある。
English: The music is originated from among ordinary people in the early Heian period, then adopted by court nobles.
Japanese: 平安時代初期に一般庶民の間で発生した歌謡が宮廷貴族の間に取り入れられたものである。
English: There was no fixed melody since it was originally sung by ordinary people, but fu (musical notes, note symbols) were chosen several times after it was introduced to the court as Outa (song), and incorporated into gagaku (ancient Japanese court dance and music), and two kinds of senpo, Japanese seven-tone gagaku scale (corresponding to: so, la, ti. do, re, mi, fa) ritsu and ryo were established in the mid Heian period.
Japanese: 元々一般庶民で歌われていたものであることから、特に旋律は定まっていなかったが、大歌として宮廷に取り入れられ、雅楽に組み込まれてから何度か符の選定が行われ、平安時代中期には律・呂という2種類の旋法が定まった。
English: Many lyrics are about old simple love affairs and take various forms such as sedoka (an ancient form of waka or tanka which consists of six lines with sound units arranged as six/seven/seven, five/seven/seven) in four phrases.
Japanese: 歌詞には古代の素朴な恋愛などを歌ったものが多く、4句切れの旋頭歌など様々な歌詞の形体をなしている。
English: How to sing Saibara depends on the school, but Biwa (Japanese lute), So (a long Japanese zither with thirteen strings), Sho (Japanese flute), etc. are used as the accompaniment and there is no mai (a formal, traditional Japanese dance).
Japanese: 催馬楽の歌い方は流派によって異なるが、伴奏に琵琶、箏（そう）、笙（しょう）などがもちいられ、舞はない。
English: The name derived from that, a song 'Ide aga koma hayaku ikikoso,' which means to speed up horses came first.
Japanese: 「いで我が駒早く行きこそ」というウマを催す意の歌が初めにあるから生じた名
English: There is Saibara (also written as 催花楽) in Togaku music, and the name was taken because the songs were sung to its beat.
Japanese: 唐楽に催馬楽（あるいは催花楽）があり、その拍子にあわせた歌であるからその名を取った
English: There was Sebaru village in Satsuma, and there were place names such as Tantado, Tsutsumigawa, and Todorokoji around there, and gakunin (players) who lived there started to sing the song.
Japanese: 薩摩に催馬楽村があり、その付近では都曇答蝋、鼓川、轟小路などの地名があり、ここに住んでいた楽人がうたいはじめた歌謡
English: Other than the above, songs of manners in Daijoe were added to Saibara; two songs 'Chitosefuru' and 'Asaya' belong to Ritsu no Uta (songs in Ritsu gagaku scale) and four songs 'Yorozuki,' 'Kagamiyama,' 'Takashima,' and 'Nagasawa' belong to Ryo no Uta (according to 'Renchusho'), as well as '絹鴨曲' (also called 'Nanizomoso') which is sung in Otoko Toka.
Japanese: このほかに大嘗会の風俗歌が催馬楽としてふえ、律歌に「千年経（ちとせふる）」、「浅也（あさや）」の2曲、呂歌に「万木（よろづき）」、「鏡山」、「高島」、「長沢」の4曲がくわわり（「簾中抄」）、男蹈歌のさいにうたわれる「絹鴨曲」（「何曽毛曽（なにぞもそ）」とも）も呂歌にくわわる。
English: "Shochusho" contains a waka poem composed by MINAMOTO no Toshiyori as Saibara: 'As a boat carrying a load all the way to Tsukushi Province, I devoted myself to her, but my love was not accepted, and I am sleeping alone in my house, thinking of her.'
Japanese: 源俊頼の「つくし舟　うらみを積みて　戻るには　葦辺に寝ても　しらねをぞする」が『袖中抄』に催馬楽として掲げられている。
English: A volume of Saishi (a special envoy from Imperial Court in the case of a festival) in "Utsuho Monogatari" (The Tale of the Hollow Tree) contains a poem which was chanted in the tune of 'Okimi Kimasaba' ('Waie'), 'People would wait patiently for you as a long pole which has been used for a long time is needed to cross a deep water,' and also a poem was chanted in the tune of 'Ise no umi,' 'My pole cannot reach the bottom of the water; I don't know about other people, but my love for you is the deepest.'
Japanese: 『宇津保物語』祭使の巻には「大君来まさば」（「我家」）の声振に歌「底深き淵を渡るに水馴棹長き心も人やつくらん」をうたい、「伊勢海」の声振に歌「人はいさ我がさす棹の及ばねば深き心をひとりとぞ思ふ」をうたった。
English: Saibara originated from the songs of the ordinary people such as Riyo (ballad, folk song, popular song) and popular songs adopted by nobles for utaimono (utai, Noh chant piece for recitation) in their banquets.
Japanese: 催馬楽は民間の俚謡、流行歌の類が、貴族の宴席のうたいものにとりいれられたものである。
English: New waka created by nobles were added to Saibara, and songs of manners sung in Daijoe are also included.
Japanese: このなかには貴族の新作和歌も加わり、また大嘗会の風俗歌がはいっている。
English: These songs were sung in side shows of Kagura, and songs such as osaibari (first half part of Kagura), kosaibari (second half part of Kagura), soga (a sort of songs and ballads which were popular among nobles, samurais and Buddhist priests in a period from the middle of the Kamakura era to the Muromachi era), and Zoka (Other Poetry) were originated from Saibara.
Japanese: 神楽の余興にもこれがうたわれていて、大小前張、早歌、雑歌の類は、もとは催馬楽からでたものである。
English: There are books that describe osaibari of Kagura as Saibaraburi (music based on melody and beat of Saibara), and Katei fushizuke hon (book with tunes) notes '大前張以下半出二於催馬楽一' (一 and 二 are kaeriten [return marks to help read Chinese literature in Japanese]).
Japanese: 神楽の大前張を催馬楽曲としるした譜本があり、嘉禎節付本には「大前張以下半出二於催馬楽一」（一、二は返り点）と注されている。
English: "Yoshino yoshimizuin gakusho" describes a Kagura song 'Sonokoma' as 'originally from Saibara,' and "Eikyokusho" (a musical document in the late of Heian period) describes 'Asakura' as 'a tune of Asakura Saibara, sing in three parts.'
Japanese: また神楽「其駒」について『吉野吉水院楽書』では「本催馬楽也」としるされ、「朝倉」について『郢曲抄』には「朝倉催馬楽の音にして三段に唱ふ」としるされる。
English: In addition, that "Kagura-fu" describes '朝闇吹二返催馬楽拍子一' (一 and 二 are kaeriten) in it indicates that these were originally Saibara songs.
Japanese: 『神楽譜』には「朝闇吹二返催馬楽拍子一」（一、二は返り点）としるされているのは、これらが古くは催馬楽の曲であったことを示している。
English: For old songs in Saibara, there are 'Agakoma' in Volume 12 of "Manyoshu"(Collection of Ten Thousand Leaves), and 'Kazuraki', a children's song sung during the enthronement of the Emperor Konin in "Shoku Nihongi" (Chronicle of Japan Continued) and "Nihon genho zenaku ryoiki" (set of three books of Buddhist stories, written in the late 8th and early 9th century, usually referred to as the Nihon Ryouiki), 'Imogakado' in Volume 11 of "Manyoshu," and 'Kawakuchi' in 'Kokin Rokujo' (Kokin waka rokujo).
Japanese: 催馬楽のなかの古歌は、「我駒」が『万葉集』巻12にあり、「葛城」は光仁天皇即位のときの童謡で『続日本紀』、『日本現報善悪霊異記』にあり、「妹之門」は『万葉集』巻11にあり、「河口」は「古今六帖」にある。
English: There are many songs that seem to be Minyo (a traditional folk song) of Kinai region as well as Mikawa, Echizen, Owari, and Ise Provinces.
Japanese: 畿内をはじめ三河国、越前国、尾張国、伊勢国などの民謡と思われる歌が多くはいっている。
English: Around Jogan era (Japan), among these songs described above were collected into a book, then Masanobu ICHIJO chose scores around 920 (one theory says that FUJIWARA no Tadafusa wrote scores), and later on, songs were brought down by the To and Gen families.
Japanese: 上に述べたような歌謡が貞観(日本)年間ころにひとつの書物にまとめられ、ついで、一条雅信によって延喜20年ころ撰譜され（一説に藤原忠房によって作譜されるという）、以後、藤家および源家によって歌曲はつたえられた。
English: The Gen family was more prosperous than the To family, and the Gen family produced more masters of Saibara.
Japanese: 藤家よりは源家ぼほうがさかえて、催馬楽の名人は源家のほうに多く出た。
English: However, Saibara started to lose its songs gradually, and also there were differences in songs that were brought down between the To and Gen families.
Japanese: しかし催馬楽は廃曲が次第に増え、また藤家と源家とでは伝えられる曲に違いがあった。
English: Thus, Saibara songs were gradually decreased and almost became extinct in the Sengoku period (Japan), then in September 1626, Suetsugu YOTSUTSUJI was given Mikotonori (imperial edict) and 'Ise no umi' was restored.
Japanese: こうして徐々に減ってゆき、戦国時代(日本)に廃滅に瀕して、寛永3年9月四辻季継に詔があり「伊勢海」が復興された。
English: There are five songs 'Anatoto,' 'Mumegae,' 'Mushiroda,' 'Minoyama,' and 'Yamashiro' in ryo, and two songs 'Ise no umi' and 'Koromogae' in ritsu.
Japanese: 呂は「安名尊」、「梅枝」、「蓆田」、「簑山」、「山城」の5曲、律は「伊勢海」、「更衣」の2曲、あわせて7曲が存する。
English: For example, 'Aoyagi' was sung as 'Gokuraku ha nisau kan ni yoseteya omoe sono kazari medeta mizu wo mite ruri no ike ni omoi wo kakeyo fukaki yaku ariya,' and 'Ise no umi' was sung as 'Ruri no chi no kotachi medetaya takara no ike no kogane no hama gotoni tamaya hirowamuya tamaya hirowamuya.'
Japanese: たとえば、「青柳」は「極楽は日想（にさう）観に寄せてや思へ其荘厳（かざり）めでた水を見て瑠璃の池に思をかけよ深き益（やく）ありや」とうたい、「伊勢海」は「瑠璃の地の木立めでたや宝の池の黄金の浜ごとに玉や拾はむや玉や拾はむや」のようにうたった。
English: Bachi (撥) is a stick-shaped tool used to pluck (hook and release, or hammer) the string (stringed instruments) or the film.
Japanese: 撥（ばち）とは、楽器演奏の際に弦(楽器)や膜をはじく（引っ掛けて離す、または打つ）ために用いる棒状の道具。
English: The Japanese word 'bachi' is used for both musical instruments that you hook and release and musical instruments that you beat.
Japanese: 日本語のバチという言葉は引っ掛けて離す楽器の場合と打つ楽器の場合の双方に使われる。
English: Picks of one type have small plate-like shape and are held between fingers, and the other types of picks are put on the fingertips.
Japanese: 小さな板状のものを指で挟んで持つ場合と、指に装着するフィンガーピック・サムピックがある。
English: These are used to beat the strings when playing stringed instruments, hammering on its strings such as yokin (Mideastern typical folk instrument, stringed instruments of zither family), dulcimers, and santurs.
Japanese: 揚琴、ダルシマー、サントゥールなどの打弦楽器で、弦を打って演奏する際に用いる。
English: Bachi are used to play percussion instruments such as Wadaiko drums (membranophone) or dora (gongs) (idiophone).
Japanese: 和太鼓（膜鳴楽器）や銅鑼（体鳴楽器）などの打楽器を演奏する際に用いる。
English: Typically, they are round sticks that have a certain level of thickness, which are the same, but for some musical instruments, sticks with thick orbs on their tips or those in the shape of a hammer are used.
Japanese: 通常、ある程度の太さを持った同じ太さの丸い棒であるが、楽器によっては先端が太く球形のものや金槌形のものが用いられる。
English: Drum sticks whose tips are tapered with a ball of round shape or in the shape of acorns are often used.
Japanese: 棒の先が細くなり、細くなった先が球状またはドングリ状にふくらんでいるものが多く使われる。
English: For bass drums and dora, sticks with round felt on the tip are normally used.
Japanese: バスドラムと銅鑼では、通常、棒の先に球状のフェルトを付けたものを用いる。
English: Hokan (also called Taiko) is a profession of a man who indulges hosts and guests at a drinking party such as a banquet or ozashiki (banquets in which guests are attended by geisha), does performances himself, and helps geisha (Japanese professional female entertainers at drinking party) and maiko (apprentice geisha) to set the groove.
Japanese: 幇間（ほうかん、または、たいこ、とも読む。）は、宴席やお座敷などの酒席において主や客の機嫌をとり、自ら芸を見せ、さらに芸者・舞妓を助けて場を盛り上げる男性の職業をいう。
English: The history of hokan goes back a long way, and its origin is reported to be Shinzaemon SORORI who is said to have served Hideyoshi TOYOTOMI as an otogishu (the professional storyteller attending provincial lords).
Japanese: 歴史は古く豊臣秀吉のお伽衆を務めたと言われる曽呂利新左衛門を祖とすると伝えられている。
English: For the origin of the name, there are theories including that it comes from 'Taiko (father of the Imperial adviser [Hideyoshi]) wo mochiageru' (to praise taiko), which changed to 'Taikomochi,' and that they are called so because they beat an musical instrument taiko (drum) and dance.
Japanese: 呼び名の語源は「太閤（秀吉）を持ち上げる」というところから転じて「太閤持ち→太鼓持ち」と呼ばれるようになったという説や、鳴り物である太鼓を叩いて踊ることからそう呼ばれるようになったとする説などがある。
English: Currently, this profession is said to be on the verge of extinction because there are few Hokan in Tokyo and only one in Kansai area, and 'party tricks' that have been handed down generations are being lost due to decrease of successors.
Japanese: 現在では東京に数名、関西には1名しかおらず絶滅寸前の職業とまで言われ、後継者の減少から伝承されてきた「お座敷芸」が失伝されつつある。
English: In Classical Rakugo (classical comic story-telling), Hokan appears in many comic stories, both Kamigata (Kyoto and Osaka area) and Edo, from which you can feel the atmosphere.
Japanese: 古典落語では江戸・上方を問わず多くの噺に登場し、その雰囲気をうかがい知ることができる。
English: In the Honbo Denpoin Temple of Senso-ji Temple located in Asakusa, Taito Ward, there is Hokanzuka which was built in 1963.
Japanese: 台東区浅草にある浅草寺の本坊伝法院には1963年に建立された幇間塚がある。
English: It is used mainly in rites and festivals in the northern part of Kyushu, and the term 'yamakasa' is also used as an abbreviation for it.
Japanese: おもに北部九州での祭礼でみられ、それらの祭礼の略称にも「山笠」が用いられる。
English: At present, there is a diversity in the styles of yamakasa after it was spread to other regions in each phase of development and it was further developed individually in each region.
Japanese: それぞれの段階で他地域に伝播された結果、また各地域で工夫をこらした結果、現在のように多様な姿の山笠が存在している。
English: In addition, people in some regions borrowed only the name 'yamakasa' from the Hakata Gion Yamakasa Festival for a ritual utensil used in their festivals, although these utensils themselves did not originate from Hakata.
Japanese: その他、博多から伝播されたものではないが、呼称だけ博多にならい、祭の際運行するものをそう呼んでいるだけのものもある。
English: One theory has it that the Hakata Gion Yamakasa Festival originated from the fact that people walked in procession, carrying a segakidana (a rack on which foods are offered during a service for the benefit of suffering spirits).
Japanese: 博多祇園山笠の起源には施餓鬼棚を担いで練り歩いたことが始まりという説がある。
English: In some cases, it is regarded as a form of a yamakasa, the shape of which is changed several times during a festival.
Japanese: 祭の期間中に何度か姿を変える山笠の、形態の一つとして見られることもある。
English: Yamakasa with a high proportion of nobori decorations are called nobori yamakasa, although their styles differ widely, and include a style with nobori surrounding the shrine, a style with nobori fixed to top of the float, etc.
Japanese: 神殿の周囲に立てたもの、屋台の上部に立てたもの等、様式が大きく異なっても幟が飾りの中で占める割合が高ければ、幟山笠と呼ばれている。
English: A moving nobori yamagasa decorated with dolls is drawn in a painting which depicts the Hakata Gion Yamakasa Festival in the early Edo period.
Japanese: 江戸時代初期の博多祇園山笠の様子を描いた絵では、幟山笠に人形を配置したものが運行されている。
English: A decorated yamakasa used to display a scene with dolls and a landscape made by placing ornaments such as those representing rocks, streams and yakata (yamakasa decoration in the shape of a house).
Japanese: 岩、水の流れ、屋形などを配置して風景をつくり、そこに人形を配置し、何らかの場面を表現して飾られた山笠。
English: However, a yamakasa of the Kanda Yamagasa Festival is also called an iwa yamagasa, because components called iwa (rocks) are attached to it.
Japanese: だが、苅田山笠では岩と呼ばれる部品を取り付けるという意味で岩山笠と呼ばれている。
English: In terms of the styles for decorating a yamakasa with dolls, a yamakasa may be called 'XX-kei Yamagata' (XX Group Yamagata) where 'XX' refers to the name of a place which is believed to be the origin of a type of yamakasa with particular features.
Japanese: 人形を飾る山笠の飾り方の様式について、その特徴をもった山笠の発祥地とされる地区名を冠して、何々系の山笠と称されることがある。
English: A Hakata-kei Yamakasa (Hakata Group Yamakasa) refers to a yamakasa that has the same style as a present-day kazari yamakasa.
Japanese: 博多系飾り山笠と呼ばれるのは、現在の飾り山笠として見られるような様式の山笠。
English: A scene is displayed by placing ornaments depicting rocks and streams, a yakata and dolls all over the yamakasa.
Japanese: 岩、水の流れ、屋形、人形を一面に飾り付け、一つの場面を作り上げている。
English: When yamagasa eshi painters originally drew preliminary sketches, ornaments and dolls were asymmetrically arranged on the basis of their viewpoints about landscape composition.
Japanese: 元来山笠絵師が下絵を描いていた頃は、絵師の風景の構成の仕方の考え方から、飾りや人形の配置は左右非対称であった。
English: At present, in some yamakasa, important dolls are placed in the middle, around which other dolls and ornaments are placed symmetrically.
Japanese: 現在は主役である人形を中心に据え、周囲に左右対称に他の人形や飾りを配置した山笠も見られる。
English: A Hakata-kei Kaki Yamakasa refers to a yamakasa that has the same style as a present-day kaki yamakasa.
Japanese: 博多系舁き山笠と呼ばれるのは、現在の舁き山笠として見られるような様式の山笠。
English: It is used only in regions which are closely related to the Hakata Gion Yamakasa Festival in particular, or in regions where people began to hold a yamakasa festival after the differentiation into two types in Hakata.
Japanese: 博多祇園山笠と特に深い関係を持った地域、博多で山笠が分化した後に山笠を始めた地域に限り見られるものである。
English: When people lowered the height of a yamakasa in many other regions, they kept its main feature, that is, the construction of a scene by decorating it with a yakata, ornaments expressing landscape elements such as rocks and several dolls.
Japanese: 他の多くの地域では山笠が低くなる際、屋形や岩等の飾り、複数の人形を飾り場面を作るという要素を残している。
English: It is similar to that of a Hakata-kei Kazari Yamakasa except its height which is shorter than that of the latter kazari yamakasa, and is moved during the festival in the same way as a kaki yamakasa.
Japanese: 博多系飾り山笠をそのまま縦に縮めたような形式のものを、舁き山笠同様に運行している。
English: The decoration extends transversally with ornaments and dolls which are placed in a largely symmetrical arrangement.
Japanese: 横広がりな形で、飾りや人形などはおおむね左右対称な配置となっている。
English: Instead of dolls, a glittering curtain (miokuri, or "seeing off") is attached to the rear of the yamakasa.
Japanese: また、後方には人形などは飾らず、きらびやかな幕（見送り）が取り付けられる。
English: This yamakasa, which is classified as an iwa yamagasa, shares common features with yamakasa of the Hakata group, which include decorations such as a yakata, ornaments representing rocks and streams, and dolls, as well as the fact that it can be seen from the front and the rear sides.
Japanese: 屋形、岩、水の流れ、人形など飾りの部品や、前後から観賞できる点が博多と共通する岩山笠である。
English: Unlike a mikoshi, it is not shaken up and down wildly during a parade except in some particular places.
Japanese: 神輿のように運行中に激しく揺らすようなことは、特定の場所以外では行われない。
English: Unlike a kaki yamakasa or a hiki yamakasa, a kazari yamakasa is not moved, but it is only displayed as a decoration.
Japanese: 舁き山笠や曳き山笠に対し、運行せずお飾りとして置いておくだけの山笠。
English: It is dangerous for adults and children to move a yamakasa together because children differ from adults in physique and physical strength.
Japanese: 体格差や体力差があることから、大人と子供が一緒に山笠を運行することには危険が伴う。
English: For this reason, kodomo yamakasa are moved separately from actual yamakasa in many festivals so that children can become familiar with a festival by participating from a young age, which contributes to the training of successors for the festival.
Japanese: このため、子供の頃から運行に直接参加させて祭に親しませ、後継者を育成していくために、本来の山笠とは別に子供山笠を運行している祭も多い。
English: In some regions, the clothing and participation of children are regulated in the same way as those of adults as much as possible in order to train children as successors.
Japanese: 後継者育成という目的から、服装や参加の仕方をできる限り大人と同じにしている地区もある。
English: However, in some cases, adults carry a kaki yamakasa, while children pull a hiki yamakasa.
Japanese: だが、大人の山笠が舁き山笠である一方子供山笠が曳き山笠である場合(もある)。
English: Many amateur photographers who took pictures in Hakata or Iizuka where parade participants wear a fundoshi shimekomi (loincloth), enter photography contests or upload them to ordinary websites, weblogs, image boards and so on.
Japanese: 服装がふんどし締め込みとなる博多や飯塚に於いて、アマチュアカメラマンが撮影した写真がフォトコンテストに応募されたり、健全なHP、ブログ、画像掲示板、等に送信される場合が多い。
English: However, on the other hand, there is no end of sinister cases in which photographers behave improperly, upload pictures to unwholesome image boards, or reproduce them from normal websites without permission.
Japanese: だが、その一方でカメラマンのマナーが悪くなったり、不健全な画像掲示板に送信したり、健全サイトから無断転載するケースも後を絶たない。
English: Since the Meiji period there has been a rule in Hakata that a kakite (carrier) must wear a mizu hanten (traditional short coat as worn at festivals) and a fundoshi shimekomi.
Japanese: 舁き手の服装は博多では明治以降は水半天にふんどし締め込みと決められている。
English: In other yamakasa festivals in Fukuoka City, its outskirts, and Saga Prefecture, a kakite must wear a mizu happi and a fundoshi shimekomi as a rule.
Japanese: それ以外の山笠でも、福岡市とその周辺、佐賀県では原則は水法被に締め込みである
English: Festivals in which a kakite wears a fundoshi shimekomi became the minority, while a kakite must wear a suteteko in festivals in Kitakyushu City, the most part of Chikuho, and Oita Prefecture as a rule.
Japanese: 締め込みは少数派となった(北九州市や筑豊の大部分、大分県は、ステテコが原則)。
English: In Hakata, Hamasaki, or Ashibetsu in Hokkaido, a shimekomi, which can be also called a mawashi in regions except Hakata, refers to a sailcloth (a thicker cotton cloth, which is softer and thinner than a mawashi (sumo wrestler's belt)) with a width of 44cm (18cm for children) and a length of 5m.
Japanese: 締め込み(博多以外では廻しと呼ぶ場合がある)の場合、博多、浜崎、芦別では幅44cm(子供用は18cm)、長さ5mの帆布(やや厚手の木綿の布、相撲の廻しよりは柔らかく薄い)になる。
English: Yamakasa are used in many Gion Festivals held from June to July in various regions in the northern part of Kyushu.
Japanese: 6月から7月にかけて九州北部の各地で催される祇園祭には、山笠が出されるものが多い。
English: Originally, kaiawase was played among nobilities as a kind of awasemono (games in which people gather each bringing something of the same kind to decide which is better) in competition for the beautiful coloring, shape, and rarity of the shells, or the superiority of uta (poetry) composed with the shell itself as its subject matter.
Japanese: 本来の貝合わせは、合わせものの一つとして貝殻の色合いや形の美しさ、珍しさを競ったり、その貝を題材にした歌を詠んでその優劣を競い合ったりする貴族たちの遊びであった。
English: On the other hand, kaiawase as a game similar to the card game 'Concentration' used to be called "kaioi," but it later became mixed up with the other one because of its hand movement of putting shells together, and came to be called by the same name of kaiawase.
Japanese: 一方、「神経衰弱(トランプ)」に似たゲームとしての貝合わせは貝覆いと呼ばれていたが、殻を合わせる所作から後に混同されて、同じく貝合わせと呼ばれるようになった。
English: The shells used for kaioi were clams caught in Futami, Ise Province, which were suitable in size for women holding in their hands.
Japanese: 貝覆いの貝は女性の掌中に握るのに適した大きさの、伊勢国二見産ハマグリを用いた。
English: A piece of paper was pasted on the inner surface of the shell, on which they drew a picture on the theme of Genji (The Tale of Genji) or the like, then finished it up with gold leaves and others to give it a brilliant coloring; the same picture was painted on each shell of the pair.
Japanese: 殻の内面には紙を貼り、源氏などの絵をかき、金箔などで極彩色に仕上げ、左右一対の殻には同じ絵を描いた。
English: When the shorter ear of the shell faces you, if you turn the umbo toward yourself, dashigai (clamshells which are put in the bucket and later taken out one by one to play kaioi) as yin (passive) is on the right, and jigai (clamshells which are placed on the mat in kaioi) as yang (active) is on the left.
Japanese: 貝は耳の短い方を前にして、頂を自分の方に向けると、右が出し貝すなわち陰、左が地貝すなわち陽である。
English: Jigai as heaven are put inside down, starting with 12 of them in the center representing 12 months, then 7 shells as the days of the week are added, and finally, exactly 360 clamshells representing the days of a year are arranged in 9 rows.
Japanese: 天にかたどった地貝の伏せ方は、まず中央に12ヶ月にかたどって12個を伏せ、7曜日にかたどってしだいに7個をくわえ、1年の日数にかたどった360個のハマグリ殻を過不足無く9列にならべる。
English: 19 is the important number in the study of calendars, and both the solar and lunar calendars take 19 years to complete a full circle.
Japanese: この19という数は暦学上重要な数であり陽暦も陰暦も19箇年で一循環するという。
English: When all jigai are set, nyobo (a court lady) as dashiyaku (a person who picks out dashigai) takes one of dashigai out of dashigaioke (kaioke for dashigai) and put it inside down on the center.
Japanese: 地貝を立て終ると、出役の女房が出貝桶から出貝1個を取り出し、中央に伏せる。
English: More than 20 himegimi (daughter of a person of high rank) surrounding the shells try to find only one jigai, out of 360, with exactly the same spots and shape as dashigai.
Japanese: 周囲に並んだ20人以上の姫君方が、360の地貝に斑紋や形状等の出貝と全く同じものを見定める。
English: Someone calmly takes up a pair of clamshells in her hand, and if they match perfectly in one hand, she separates the pair and put them inside down in front of her knees.
Japanese: そしておもむろに1対のハマグリ殻を掌中に取り上げ、片手で合わせ、よくあったならば、2つにわけて膝の前に伏せる。
English: Then dashiyaku put another dashigai on the center and they repeat the same thing again and again, and the player with the most shells should be the winner.
Japanese: 出役が出貝を中心に伏せると、また同じことを繰り返し、最も多く取った者が勝である。
English: Because making many mistakes in the game were considered shameful, kaioi became a means to learn morals and kaioke had been one of a bride's household articles in high society until the Meiji Restoration.
Japanese: 幾度も間違えることは恥辱であるとされ、おのずと修身の具ともなり、明治維新前までは貝桶が上流社会の嫁入り道具の一であったという。
English: Kaioi has not been played anymore in and after modern times, and now a real, complete set of kaioi can be seen only in museums, but some hinaningyo (a set of dolls displayed for the Girls' Festival) still has miniature kaioke and other articles.
Japanese: しかし近代以降は遊ばれることもなく、実物の貝覆いの道具一式は博物館などで見られる程度であるが、雛人形にはミニチュアの貝桶などが今なお残っているのを見ることがある。
English: For kaiawase in the Edo period, they used clamshells with makie (Japanese lacquer sprinkled with gold or silver powder) or gold-leaf decoration inside.
Japanese: 江戸時代の貝合わせは、内側を蒔絵や金箔で装飾されたハマグリの貝殻を使用する。
English: Bivalves such as clams would not match any shell other than their counterpart, so people played kaiawase choosing a pair out of the shells placed face down.
Japanese: ハマグリなどの二枚貝は、対となる貝殻としか組み合わせることができないので、裏返した貝殻のペアを選ぶようにして遊んだ。
English: On the inside of a shell, natural features or a court couple who looked like the Tosa clan were often depicted.
Japanese: 貝の内側に描かれるのは自然の風物や土佐一門風の公家の男女が多かった。
English: Octagonal kaioke filled with beautifully decorated awasegai (shells for kaiawase) were made in pairs.
Japanese: 美しく装飾された合貝を納めた貝桶は八角形の形をしており二個一対であった。
English: They were the most important article of the bride's household effects for a daimyo's daughter, so that they were carried at the head of a wedding procession.
Japanese: 大名家の姫の婚礼調度の中で最も重要な意味を持ち、婚礼行列の際には先頭で運ばれた。