nntsuzu/KFTT huggingface dataset:
English: There's also a solo performance of oshimodoshi which was revived by Sansho ICHIKAWA (the fifth) (scripted by Onitaro OKA) in 1934.
Japanese: また押戻単独の演目としては、1934年に市川三升_(5代目)が復活上演（岡鬼太郎脚本）したものがある。
English: It was premiered in 1701 by Danjuro ICHIKAWA (I) at Edo-Nakamura-za Theatre (as part of "Keisei Oshokun" (The Courtesan Wang Zhaojun).
Japanese: 元禄14年(1701年)、江戸中村座で市川團十郎(初代)が初演（『傾城王昭君』の一幕）。
English: It recounts how Gennaizaemon YAMAGAMI, a retainer of FUJIWARA no Kamatari, wrests the elephant SOGA no Iruka the rebel has brought away from him.
Japanese: 叛臣蘇我入鹿が連れてきたゾウを、藤原鎌足の家来山上源内左衛門が引きあってついに奪いとる、という粗筋。
English: SOGA no Iruka and Gennaizaemon YAMAGAMI may become the Minister OTOMO no Kachimaro and MITA no Genjitakeru.
Japanese: 蘇我入鹿と山上源内左衛門の設定が、大臣・大伴褐麿と箕田源二猛になる場合がある。
English: Though the play was long out of performance, it was revived in 1913 by Sadanji ICHIKAWA (II) (written by Hakusei HIRAKI), in 1933 by Sansho ICHIKAWA (V) (written by Shiko YAMAZAKI), in 1958 by Zenshin-za Troupe (written by Kanesaburo HIRATA) and in 1982 by Shoroku ONOE (II) (written by Koichi TOSHIKURA).
Japanese: 長らく上演が絶えていたが、1913年に市川左團次(2代目)（平木白星作）、1933年に市川三升(5代目)（山崎紫紅作）、1958年に前進座（平田兼三郎作）、1982年に尾上松緑(2代目)（利倉幸一作）が復活上演している。
English: The original was an act in the play "Tsuwamono kongen Soga" in which ICHIKAWA Danjuro II played at Nakamura theater in Edo in 1697.
Japanese: 元禄10年(1697年)、江戸中村座において市川團十郎(2代目)が『兵根元曾我』（つわものこんげんそが）の一幕として演じたものが原型。
English: The story is simply that an actor disguised as Fudo myoo appears in the final stage, and this act comes from the belief in Mountain Narita in which ICHIKAWA Danjuro believed.
Japanese: 大詰めに役者が不動明王に扮して出現するという単純なもので、市川團十郎の成田山信仰に由来する芸である。
English: The present Fudo play was first performed by ICHIKAWA Ebizo II (ICHIKAWA Danjuro II) at Sadoshima theater in Osaka on New Year's in 1742 as the last act of the play "Narukami."
Japanese: 現行のものは、寛保2年(1742年)正月、大坂佐渡嶋座において二代目市川海老蔵（二代目市川團十郎）が『鳴神』の五幕目大切りに取り入れたものを初演とする。
English: ONOE Shoroku II revived it in 1967 in the script by TOBE Ginsaku.
Japanese: 昭和42年(1967年)には、これを尾上松緑(2代目)が戸部銀作脚本で復活上演している。
English: ICHIKAWA Danjuro XII revived "Naritasan funjin fudo" in 1992 but it is different from the original version, it is not included in the best eighteen Kabuki plays.
Japanese: なおこれとは別に、市川團十郎(12代目)が平成4年(1992年)に復活上演した『成田山分身不動』があるが、こちらは原型を異にするため「歌舞伎十八番之内」とはしない。
English: Aosagibi is defined as a mysterious phenomenon in Japan in which the body of a heron emits a pale blue light mainly at night.
Japanese: 青鷺火（あおさぎび、あおさぎのひ）は、サギの体が夜間などに青白く発光するという日本の怪現象。
English: It was also featured in a well-known collection of specters illustrations in the Edo period Konjaku Gazu Zoku Hyakki (Continued Illustrations of the Many Demons Past and Present) by Sekien TORIYAMA and in Ehon Hyaku Monogatari (Picture Book of a Hundred Stories).
Japanese: 江戸時代の妖怪画集として知られる鳥山石燕の『今昔画図続百鬼』や『絵本百物語』にも取り上げられた。
English: Also, in "Bakemono Haruasobi" (monster's spring play) written by 桜川慈悲功, a writer of gesaku (literary work of a playful, mocking, joking, silly or frivolous nature) in the later Edo period, there is a story in which a luminescent grey heron was seen in Yamato Province (Present Nara Prefecture).
Japanese: また江戸後期の戯作者・桜川慈悲功の著書『変化物春遊』にも、大和国（現・奈良県）で光る青鷺を見たという話がある。
English: According to the story, blue fire was seen almost every night at a large willow tree called "bakeyanagi" (willow monster) and was feared by the people.
Japanese: それによると、化け柳と呼ばれる柳の大木に毎晩のように青い火が見えて人々が恐れていた。
English: And on one rainy night, when a man came near to it saying "The fire may not inflame on a rainy night", the whole tree began to shine in blue.
Japanese: そして、ある雨の晩、1人の男が「雨の夜なら火は燃えないだろう」と近づいたところ、木全体が青く光り出した。
English: According to the legend in Niibo-mura, Sado ga-shima Island, Niigata Prefecture (Present Sado City), a dragon lantern (mysterious fire which is said to be lit by a dragon) came flying almost every night at a plum tree in the Konpon-ji Temple.
Japanese: 新潟県佐渡島新穂村（現・佐渡市）の伝説では、根本寺の梅の木に毎晩のように龍燈（竜が灯すといわれる怪火）が飛来していた。
English: There is transmission of a legend that the features of those birds in the mountains including young night herons, ducks, and pheasants, etc., emit a light when they fly at night.
Japanese: ゴイサギやカモ、キジなどの山鳥は夜飛ぶときに羽が光るという伝承がある。
English: Kimimori SARASHINA, a researcher of a native town wrote in his book entitled "Hikaru tori, Hitodama, Hibashira" (shining bird, disembodied soul, pillar of fire) about many firsthand accounts of those grey herons and young night herons shining in pale blue like aosagibi (blue heron fire), including a story in which a young night heron was seen to shine in pale blue in Ibaraki Prefecture in around 1928.
Japanese: 郷土研究家・更科公護の著書『光る鳥・人魂・火柱』にも、昭和3年頃に茨城県でゴイサギが青白く光って見えた話など、青鷺火のように青白く光るアオサギ、ゴイサギの多くの目撃談が述べられている。
English: There is also a description in an encyclopedia compiled in the Edo period "Wakan-sansai-zue" that reads that the appearance of a young night heron flying in the air is just like a fire and is especially seen brightly on a moonlight night.
Japanese: 江戸時代の百科事典『和漢三才図会』にも、ゴイサギが空を飛ぶ姿は火のようであり、特に月夜には明るく見えるとの記述がある。
English: On the other hand, there is also a legend that young night herons disguise when they become old, similar to red foxes, raccoon dogs, and bake-neko (a monster cat).
Japanese: また一方でゴイサギはキツネタヌキや化け猫のように、歳を経ると化けるという伝承もある。
English: There is a hypothesis that this was because young night herons are active at night and because the appearance of its flying in the night sky and singing aloud may have given a weird impression to people.
Japanese: これはゴイサギが夜行性であり、大声で鳴き散らしながら夜空を飛ぶ様子が、人に不気味な印象をもたらしたためという説がある。
English: Scientifically, a major hypothesis suggests that luminescent bacteria existing in aquatic environment attach to the body of a bird and are seen to shine in moonlight at night.
Japanese: 科学的には水辺に生息する発光性のバクテリアが鳥の体に付着し、夜間月光に光って見えるものという説が有力と見られる。
English: There is also a hypothesis that white feathers growing on the chest of young night herons look shining when seen by the eyes at night.
Japanese: また、ゴイサギの胸元に生えている白い毛が、夜目には光って見えたとの説もある。
English: It was established in 1663 as a second-class drug seller by Jikishin KUMAGAI who referred to himself as the 20th descendent of Naozane KUMAGAI.
Japanese: 熊谷直実20代目の子孫を称する熊谷直心が1663年（寛文3年）に薬種商として創業。
English: There was a wide variety of Hondamage, such as Wakasamahonda, Kingyohonda, Yamaihonda, Naniwahonda, Mamehonda, and so on.
Japanese: 令兄本多（わかさまほんだ）、金魚本多（きんぎょほんだ）、病本多（やまいほんだ）、浪速本多（なにわほんだ）、豆本多（まめほんだ）などさまざまな種類が登場した。
English: The front part of the head is extremely broadly shaved from the very edge of the ears to the temporal regions, and sideburns are combed up like a bamboo blind.
Japanese: 耳の上ぎりぎりから側頭部にかけてまで極端に広く月代（さかやき）を取り、鬢の毛を簾のように纏め上げる。
English: The topknot made thin like a rat's tail is tied up with a paper cord, hanging down sharply to the top of the head.
Japanese: 鼠の尻尾のように細く作りなした髷は元結で高く結い上げて、急角度で頭頂部にたらすというもの。
English: The characteristics of this hairstyle are the broad shaved part and a space enclosed by the line connecting the head, the ends of the topknot, and the root of the topknot.
Japanese: 広い月代と頭と髷先、髷の根元を線で結んだ間の部分に空間ができるのが特徴。
English: This hairstyle looked so elegant and soft that, at first, it gained enormous popularity among customers who frequented Yoshiwara (a red-light district in Tokyo).
Japanese: 優美で柔和な印象で最初吉原(東京都)に出入りする客の間で大人気を博した。
English: There were the following stereotypes: a man without wearing Hondamage would be received coolly in the Yoshiwara red light district; a young master of a large merchant house should wear Hondamage.
Japanese: 本多髷でなければ吉原遊郭では相手にされない、大店の若旦那といえば本多髷を結うものというようなステレオタイプまで存在した。
English: Suijin in Edo was commonly dressed in a complete outfit of fine-patterned silk kimono in chic dark brown or dark gray with Hondamage hairstyle.
Japanese: 江戸の粋人の出で立ちと言えば、粋な濃い茶系統か鼠色系統の絹物の小紋の衣装一式に本多髷だった。
English: A gentleman, who would carry a solid silver tobacco pipe casually in a bag made of famed fabrics imported from Spain and Portugal, or China, and exchange jokes by drinking sake quietly, was especially poplar in Yoshiwara.
Japanese: さりげなく南蛮や唐渡りの名物裂の袋に銀無垢の煙管を携えて、遊郭では静かに酒を飲んで冗談を楽しむという具合の御仁が人気だった。
English: When a customer had a relationship not with his regular partner but with another prostitute, his regular partner had a right to punish him.
Japanese: 客が敵娼（あいかた）以外の遊女と関係を持った場合、敵娼には懲罰を与える権利があった。
English: The punishment was such that his topknot was cut down; in a more severe case, he was dressed in female costume with make-up and exposed to public view.
Japanese: その方法といえば、髷を切ってザンバラ髪にしたうえ酷い場合は女物の着物を着せて化粧をさせてさらし者にするというものだった。
English: When a man with his hair hanging loose and disheveled walked on the street, people might see what had happened to him, so each licensed quarter had a hairdresser particularly for playboys to rearrange their hair in a small topknot called Mamehonda.
Japanese: 大通りをザンバラ髪で歩いていればすぐに理由を悟られたため遊郭の中には浮気男専門の髪結いがいて、豆本多という小ぶりな髷に結いなおしてくれたという。
English: This hair style employed the hair style for ladies in Tang Dynasty in China as a model and hair styles similar to kokei were sokei (twin chignons) and ikkei (single chignon).
Japanese: 唐の女性の髪形に取材したもので、類似したものに双髻（そうけい）、一髻（いっけい）がある。
English: A kind of ikkei, with mage (chignon) made on the top of the head and the hair on the back of the head hanging down was done by uneme who served the emperors even when Heian period started.
Japanese: 一髻で髻も頭上に作り後ろ髪を垂らすものは平安時代に入ってからも天皇に仕える采女（うねめ）に結われた。
English: The main portion of this mage includes two loops formed by dividing the end of the hair into two and using these ends, and the rest of the hair is wound at the foot of this mage in a cross shape and, thereby, kokei is completed.
Japanese: 髷の本体は髪の先を分けて二つの輪を作ったもので、余った髪を十文字に髷の根元に巻きつけて完成。
English: Ikkei: The hair above the forehead is divided into two at the center and are each coupled to the hair on the temple and are each folded back at the height at which the hair does not touch the shoulder to the top of the head to form mage.
Japanese: 一髻：前髪を真ん中でわけ鬢と合流させたのち鬢ごと肩につかない程度で頭頂部に折り返して髷を作る。
English: This Raiden is a noh work made based on an episode that Michizane SUGAWARA was relegated to Dazaifu, died, became thereafter thunder, and cursed the Imperial Palace precincts.
Japanese: 菅原道真が大宰府に左遷され憤死、死後雷となって内裏に祟ったというエピソードをもとに構成された能である。
English: This story introduced elements from Taiheiki (a collection of war stories in the old days in Japan), Kitano-tenjin-engi-emaki (a series of picture books of stories about Michizane SUGAWARA and Kitano-tenjin shrine), etc., and it is said that Raiden also influenced a kabuki work, Sugawa-denju-tenarai-kagami created in the later days.
Japanese: 太平記、北野天神縁起絵巻などに取材しており、後世の歌舞伎、菅原伝授手習鑑にも影響を与えたとされる。
English: When Hossho-bo was praying to invoke divine help for the world, the ghost of Michizane appeared and said 'I was relegated and died due to a false charge and, therefore, I will become thunder and have my revenge on the Imperial Court precincts.'
Japanese: 天下のため護摩供養をしていると道真の霊があらわれ「自分は冤罪で左遷され死にいたったので、雷となって内裏に行き恨みをはらそうと思う」と述べる。
English: He added asking 'Though the Imperial Court will invite you, Hossho-bo to expel the evil sprit, please do not go there even if you are called.'
Japanese: そして「朝廷は悪霊退散のために法性坊を招くだろうが、もし呼ばれても参り給うな」と願う。
English: Hossho-bo answered 'Because Mt. Hiei is a place for the emperors to pray, I can not refuse their invitation at the third visit of their messenger.'
Japanese: 法性坊は「比叡山は天皇の祈願所であるため、三度勅使が来たら断れない」と答える。
English: Listening to the answer, the ghost of Michizane bit a pomegranate offered in front of the principal icon of the temple into pieces and spit the pieces onto the door of the temple and the door burned.
Japanese: それを聞いた道真の霊は、本尊の前に供えてあったざくろを噛み砕き、寺の戸に吐きかけると扉は燃えあがった。
English: In the second half of the story, the ghost of Michizane which transformed into thunder rushed around wildly in the Imperial Palace precinct and fought the supernatural power of Hossho-bo.
Japanese: 後段は内裏で雷となった道真の霊が暴れまわり、法性坊の法力と対決する。
English: Finally, Michizane was given a spiritual name of 'Tenjin (god in heaven)' from the Imperial Court and he thanked and went away riding on a black cloud.
Japanese: 最後は朝廷から｢天神｣の神号をおくられ、礼を述べて黒雲に乗り立ち去る。
English: The lord of Kaga Domain, the Maeda clan who were the big supporters of Hosho-ryu school said that they were descendants of Michizane SUGAWARA and, taking into account this fact, the noh schools perform the story changing the scene in which the ghost of Michizane becomes raijin, a thunder god, and rushes around wildly to a scene in which the ghost dances to celebrate the Imperial Court.
Japanese: なお能流派では、宝生流の大後援者であった加賀藩主前田氏が菅原道真の子孫と称していたことに遠慮して、道真の霊が雷神となって内裏を暴れまわるところを改作し、朝廷を寿いで舞を舞うという筋にして上演する。
English: Though this modified work was listed as a shosho (special direction) 'Maiiri (with dancing)' in programs in Edo period, this is an ordinary direction at present.
Japanese: 江戸時代には小書（特殊演出）「舞入」として番組に書いていたが、現在では通常の演出となっている。
English: He says 'I have been praying to invoke the divine help as a 100-day session and today is the day for the session to be concluded and, therefore, I will hold a Buddhism service called 'Nio-kai (the guardian god meet)'.
Japanese: 百日の護摩供養をしていたが、今日は満願の日なので｢仁王会｣という法事をするつもりであると述べる。
English: When Hossho-bo glances through a gap, he is greatly surprised because Michizane SUGAWARA who he thinks is dead is standing there, however, he invites Michizane into the room.
Japanese: 法性坊が隙間からのぞくと、亡くなったはずの菅原道真がそこにいるので大いに驚くが、室内に招き入れる。
English: Hossho-bo was the teacher of Michizane since Michizane was young and they were in a close relation as a teacher and a student and, therefore, the two sincerely converse.
Japanese: 法性坊は道真の幼いころからの師であり、親密な師弟関係をむすんでいたため、ふたりは心をこめた会話をかわす。
English: Hossho-bo says 'I hear you died in Chikushi Province. Therefore, I have been holding a memorial service.'
Japanese: 法性坊は、｢御身は筑紫国で果てたと聞いた。だからずっと弔いをしているのだ。」と述べる。
English: It is sung by the noh background singing the memory that 'when I was a child, I had no father and no mother but I received the teaching of the priest (Hossho-bo) in Mt. Hiei and I studied "inviting the moon to the window of the beauties of the nature, collecting fireflies, knowing clearly the minds of the summer insects, with the woods of writing brushes having many branches, and without depletion of the fountain of words"'.
Japanese: ｢幼かりしその昔は、父もなく、母もなく、比叡山で僧正（法性坊）の教えをうけ、『風月の窓に月を招き、蛍を集め夏虫の心のうちも明らかに、筆の林も枝茂り、言葉の泉も尽きもせず』勉強した」という思い出が能地謡によって謡われる。
English: However, Michizane asks Hossho-bo saying 'After I died without fulfilling my dreams during my life, I think I will obtain the permission from Bonten-taishaku (the highest-rank gods), become thunder, and brutally kill Ason who entrapped me. At that time, you, priest, my teacher will be ordered to come to the Imperial Court, but, please never come.'
Japanese: しかし「この世の望みかなわず死んだ後は、梵天帝釈の許しを得て雷となって自分を陥れた朝臣を蹴殺そうと思う。その折、師の僧正はきっと朝廷に召されるであろうが決して参りたまうな」と道真は頼む。
English: Hossho-bo answers 'Even when the Imperial Court orders me to come there, I will not go at the second order. However, I live in odo (the land governed by the emperors) and I can not refuse to go at the third visit of the messenger.'
Japanese: 法性坊は｢朝廷からのお召しがあっても、二度までは参らぬ。しかしながら王土（天皇が治める土地）に住むこの身、勅使三度に及べば参らぬわけにいかない｣と答える。
English: At this time, the face of Michizane suddenly changes to a face just like a evil sprit and Michizane bites pomegranate offered in front of the icon of the temple into pieces and spits the pieces onto Tsumado (door) and the pomegranate quickly turns to flames and burns.
Japanese: その時、道真の形相はにわかに鬼のごとくになり、仏前に供えてあったざくろを噛み砕き、妻戸（扉）に吐きかける。そのざくろはたちまち火となって燃え上がる。
English: When Hossho-bo makes In (shapes made with fingers to invoke supernatural power) and chants Shingon (words to be chanted to invoke divine help), the fire is put out and, in the smoke of it, the ghost of Michizane SUGAWARA rushes away to the noh stage and enters inside the curtain.
Japanese: 法性坊が印を結んで真言をとなえると火は消え、その煙のうちに菅原道真の霊は能能舞台めがけて走り去り、幕内に入る。
English: On the stage without shite and waki who are taking a break, enter the follower acted by a kyogen-kata (kyogen player), and he speaks a rough plot of the first half and, thereafter, says 'Michizane went to the Imperial Palace precincts and is doing bad things. As I expected, the imperial messenger went to the priest (Hossho-bo) and ordered the priest to come to the Imperial Palace precinct and pray to expel the evil spirit. The priest first refused the order but, receiving the third messenger, the priest thought there was no choice and went there. Every body, please be ready.'
Japanese: シテ、ワキともに中入りした舞台に、狂言方が扮する従者が登場、前段のあらすじを語ったのち「道真は雷となって内裏に行き悪事をなさっている。案の定、僧正（法性坊）のもとに勅使がきて内裏でご祈祷せよとのこと、初めは断っていた僧正も三度目の使いを受け、この上は是非におよばずと参上せられる。皆々用意をせよ」と言う。
English: On-stage assistants carry ichi-jo-dai (a platform of the size of one tatami mat) which represents the Imperial Palace precincts and set it on a noh-noh stage and a noh-noh stage.
Japanese: 後見の手によって、内裏を表現する一畳台が運び出され、能能舞台と能能舞台に据えられる。
English: Overlapping this, noh background singing starts singing the description of the scene 'How mysterious. The sky is covered with black cloud and the lightening strikes in all the directions (omitted) shaking continuously, and the thunder god and thunder presents its appearances.'
Japanese: そこへ地謡による情景描写の謡い｢不思議や虚空に黒雲覆い、稲妻四方にひらめき渡って　（中略）震動ひまなく鳴神の、雷（いかづち）の姿は現れたり　｣が謡われる。
English: Hossho-bo says to Raijin 'You, Michizane, was a vassal who received the obligation from the Emperor until yesterday, wasn't you? Be calm.'
Japanese: 法性坊は雷神にむかい｢道真よ、そなたは昨日までは天皇の恩を蒙った臣下ではないか。静まりなされ」と言う。
English: Raijin rushes around wildly saying 'You, stupid, Priest. You gave up me and, therefore, I'm not afraid of even you, Priest.'
Japanese: 雷神は｢あら愚かや僧正よ。われを見放し給う上は、僧正なりとも恐るまじ　｣と暴れまわる。
English: Raijin rushes like 'If Priest is in Shishinden building, the thunder sounds in Kokiden building. Whey Priest moves to Kokiden building, the thunder sounds in Seiryoden building. When Priest moves to Seiryoden building, the thunder moves to Nashitsubo building and Umetsubo building. In the daytime, the thunder moves around the palace in darkness and the two meet.'
Japanese: ｢紫宸殿に僧正あれば弘徽殿に神鳴りする、弘徽殿に移りたまえば清涼殿に雷（いかづち）鳴る、清涼殿に移り給えば梨壺梅壺、昼の間夜の御殿（おとど）を行き違い巡りあいて　｣という具合である。
English: On the state, two ichi-jo-dai are used as the setting representing the palace buildings, and shite, Raijin and waki, Hossho-bo fiercely fight.
Japanese: 舞台上は二つの一畳台を宮中の御殿に見立て、シテ雷神とワキ法性坊が激しく立ち回る。
English: After all, Hossho-bo pushes Raijin into a corner and reads 'Senju-darani sutra' and, when he finishes reading, Raijin prostrates himself at Hossho-bo saying 'That's all and please forgive me.'
Japanese: やがて法性坊は雷神を追い詰め、｢千手陀羅尼（せんじゅだらに）｣を読み終わると、雷神は｢これまでなりやゆるし給え｣と平伏する。
English: Grudge during the life and happiness after death. That's all and let me go in the air riding on a black cloud.'
Japanese: ｢生きての恨み死してのよろこび、これまでとて、黒雲に打ち乗って虚空にあがらせたまえり｣
English: Tatsumi Geisha refers to professional female entertainers, who were particularly popular in Fukagawa in Edo (present-day Fukagawa, Tokyo) around the Edo period.
Japanese: 辰巳芸者（たつみげいしゃ）とは、江戸時代を中心に、江戸の深川（今の東京都深川区）で活躍した芸者衆のこと。
English: Since Fukagawa is located in the direction of Tatsumi (southeast), they are called 'Tatsumi Geisha,' and also 'Haori Geisha' because they are characterized by their wearing of Haori (a Japanese half coat).
Japanese: 深川が江戸の辰巳（東南）の方角にあったことから「辰巳芸者」と呼ばれるが、羽織姿が特徴的なことから「羽織芸者」とも呼ばれる。
English: They were praised as a symbol of 'the spirit of Edo' while Maiko (apprentice geisha) and Geigi (geisha) as 'the flower of Kyoto.'
Japanese: 舞妓・芸妓が京都の「華」なら、辰巳芸者は江戸の「粋」の象徴とたたえられた。
English: In the Meireki era, Fukagawa flourished as a commercial harbor mainly for the distribution of lumber, having a massive red-light district.
Japanese: 深川は明暦ごろ、主に材木の流通を扱う商業港として栄え大きな花街を有していた。
English: Geisha (both male and female) were in great demand for a gathering of merchants or entertaining business contracts, so naturally, such Geisha who had run away from their hometown settled in Fukagawa.
Japanese: 商人同士の会合や接待の場に欠かせないのは芸者（男女を問わず）の存在であったために自然発生的にほかの土地から出奔した芸者が深川に居を構えた。
English: Tatsumi Geisha originated from a popular Geisha in Nihonbashi (present-day Chuo Ward, Tokyo) named 'Kikuya,' who moved to Fukagawa because she had trouble in Nihonbashi.
Japanese: その始祖は日本橋(東京都中央区)の人気芸者の「菊弥」という女性で日本橋で揉め事が会って深川に居を移したという。
English: Most of the regular customers of Tatsumi Geisha were heartful and fashionable artisans who were typical in Fukagawa, so their tastes affected the style and manner of Tatsumi Geisha.
Japanese: しかし土地柄辰巳芸者のお得意客の多くは人情に厚い粋な職人達でその好みが辰巳芸者の身なりや考え方に反映されている。
English: Tatsumi Geisha preferred light makeup, dressed in plain grayish color with bare feet without wearing tabi (split-toe socks) even in winter; they tossed on Haori which was for men at that time and entertained guests with mannish speaking.
Japanese: 薄化粧で身なりは地味な鼠色系統、冬でも足袋を履かず素足のまま、当時男のものだった羽織を引っ掛け座敷に上がり、男っぽい喋り方。
English: The good-natured and heartful Tatsumi Geisha, who were proud of selling not their bodies but their skills, were immensely popular as a symbol of the spirit of Edo.
Japanese: 気風がよくて情に厚く、芸は売っても色は売らない心意気が自慢という辰巳芸者は粋の権化として江戸で非常に人気があったという。
English: They also took the mannish professional names such as 'Otokichi,' 'Tsutakichi,' or 'Mameyakko,' instead of feminine names such as 'Ukifune' or 'Aoi.'
Japanese: また源氏名も「浮船」「葵」といった女性らしい名前ではなく、「音吉」「蔦吉」「豆奴」など男名前を名乗った。
English: This is also for the purpose of throwing the shogunate's investigators off the scent of Fukagawa red-light district by disguising as male Geisha.
Japanese: これは男芸者を偽装して深川遊里への幕府の捜査の目をごまかす狙いもある。
English: Tatsumi Geisha, who were the example of the spirit of Edo, often appear in works describing Edo.
Japanese: 江戸のいき（意気）を体現した辰巳芸者は、江戸を描写した作品にしばしば登場する。
English: Chigomage (also pronounced "chigowage") is a form of hair which was worn by boys from the Heian period to the Azuchi-Momoyama period, and also the similar hairstyle for girls which dates from the Edo period.
Japanese: 稚児髷(ちごまげ、ちごわげ)は、平安時代～安土桃山時代の少年の髪形、及び、それに類似した江戸時代から結われた少女の髪形。
English: It is also called Chigowa, Karawa, and Karakomage.
Japanese: 稚児輪(ちごわ)、唐輪(からわ)、唐子髷(からこまげ)とも呼ばれる。
English: Bind the hair together at the top of the head and divide it into right and left, then make a loop with each of them tying their ends to the root of the ponytail; and finally the root is covered with broad takenaga (paper strip used as a hair ornament).
Japanese: 頭頂部でひとつにまとめた髪を左右に分けてそれぞれ輪にし、毛先を根元に納めて幅広の丈長をかけて結い終わる。
English: Chigomage originated as the hairstyle for chigo (child in a Buddhist possession) in major temples during the Heian period, and later became commonly accepted as the hairstyle for boys of Imperial or noble family in the Heian period.
Japanese: 平安時代に稚児＠大規模寺院の髪形として結われる様になり、後に皇族、平安貴族の少年の髪形として一般化する様になった。
English: Although mage (a chignon) itself is almost the same as in boys' hairstyle, the most distinctive feature of girls' hair is that the forelocks are widely brought up from above the outer ends of the eyebrows (there are also many cases in which a small mage is worn at the top of the bobbed hair, and for very young girls sometimes the forelocks were not brought up).
Japanese: 髷自体は少年の髪形と殆ど同じだが、前髪を眉尻の上辺りから広くとって上に上げるのが最大の特徴(おかっぱ頭の頭頂部に小さな髷を結う場合も多い、また幼い少女向きに前髪をとらないかたちもあった)。
English: Originally no hair ornaments were used for chigomage, but from the beginning of the Taisho period people began to ornament it with hana-kanzashi (flower ornament) and so on.
Japanese: 本来髪飾りは一切使用しないが、大正の初期ごろから花簪などを挿して飾るようになった。
English: When girls between 10 and 19 years old wear chigomage, it often becomes similar to Momoware (literally, split peach; female hair style in kimono that the bun is split and a red fabric woven in the center) or Ichogaeshi (the hair done up in a bun shaped like two leaves of the ginkgo tree).
Japanese: 10代の少女の場合は桃割れや銀杏返しに類似した髪形となる場合も多い。
English: This hairstyle was worn by the girls called 'Okosho' (it is different from child servants of samurai family called "Kosho," who paged to daimyo [Japanese feudal lord] and so on), who was aged between five or six and 12 years old and attended on a daughter of a high-ranking samurai or a court noble.
Japanese: 特に身分の高い武家や公家の姫君の側近くに仕える、五、六歳から十二歳ぐらいの「お小姓」（大名などに仕える武家の少年使用人である小姓とは別）と呼ばれる少女によく結われた髪型。