nntsuzu/KFTT huggingface dataset:
English: In the Kamakura period (1185-1333), when a member of Sekkan-ke (the families which produced regents) the Northern Branch of the Fujiwara family, FUJIWARA no Michikane and Renjo UTSUNOMIYA (Rensho UTSUNOMIYA or Yoritsuna UTSUNOMIYA) built a villa at Sagano of Kyoto, they commissioned a master of poetry FUJIWARA no Teika (1162-1241) to choose outstanding waka for decorating the shikishi (square piece of fancy papers) of the fusuma (papered sliding doors) of the villa (later it was called Ogura-sanso Villa); Teika selected one hundred tanka, each one by distinguished poets and arranged them in chronological order from Emperor Tenji of the period of Jodai (before Taika no Kaishin of 645 which Tenji conducted when he was still a prince) until Emperor Juntoku of the Kamakura period; that has been said to be the prototype of "Ogura Hyakunin Isshu."
Japanese: 摂関家藤原北家藤原道兼・宇都宮蓮生（宇都宮頼綱）が京都嵯峨野に建築した別荘、小倉山荘の襖色紙の装飾の為に、蓮生より依頼を受けた鎌倉時代の歌人藤原定家が、上代の天智天皇から、鎌倉時代の順徳天皇まで、百人の歌人の優れた和歌を年代順に一首ずつ百首選んだものが小倉百人一首の原型と言われている。
English: When it was compiled, the title wasn't fixed, therefore, it was called by various nicknames such as 'Ogura-sanso Shikishi no Waka' and 'Saga-sanso Shikishi no Waka.'
Japanese: 成立当時まだ百人一首に一定の呼び名はなく、「小倉山荘色紙和歌」や「嵯峨山荘色紙和歌」などと称された。
English: In the Edo period (1603-1867), by the technique of wood block print, it began to be printed on uta-garuta (poem cards) with beautiful illustrations and was spread through common people.
Japanese: 江戸時代に入り、木版画の技術が普及すると、絵入りの歌がるたの形態で広く庶民に広まった。
English: FUJIWARA no Teika left another personal collection "Hyakunin Shuka" (The Outstanding Waka by a Hundred Pests); the big difference with "Ogura Hyakunin Isshu" is two things: It doesn't choose Emperor Gotoba nor Emperor Juntoku, while choosing FUJIWARA no Teishi (Sadako), MINAMOTO no Kunizane (Kuninobu) and FUJIWARA no Nagakata; the tanka by MINAMOTO no Toshiyori is different one (in "Ogura Hyakunin Isshu" his tanka begins with "Ukari-keru").
Japanese: 関連書に、やはり藤原定家の撰に成る『百人秀歌』があり、百人秀歌と百人一首との主な相違点は「後鳥羽天皇・順徳天皇の歌が無く、代わりに藤原定子・源国信・藤原長方の3名が入っている」「源俊頼の歌が『うかりける』でなく別の歌である」2点である。
English: At present, the scholars consider that Teika compiled "Ogura Hyakunin Isshu" based on his earlier work "Hyakunin Shuka."
Japanese: 現在、この百人秀歌は百人一首の原撰本（プロトタイプ）と考えられている。
English: The poets' status of "Manyoshu" (compiled in about year 759) are full of variety, they are the emperors, the nobles, the swordsmen, and peasants; it is considered to be because there was no distinct hierarchy yet.
Japanese: まだしっかり身分の差がないためか天皇、貴族、武士、農民などあらゆる階層の人の歌が収められている。
English: Unlike the poets of "Manyoshu," the poets of this period expressed much more delicate senses to make more elegant tanka, using sophisticated techniques such as hiyu (metaphor), engo (correlative words) and kakekotoba ('pivotword' or words having alternative meanings).
Japanese: 万葉集とは違い、比喩や縁語、掛詞などの技巧をこらした繊細で、優美な歌が多く作られた。
English: Amongst them, ARIWARA no Narihira and ONO no Komachi are especially famous, and KI no Tsurayuki, one of the selectors of "Kokin Wakashu" (compiled in about 913), gave them a nickname 'Rokkasen.'
Japanese: 選者の紀貫之が六歌仙と呼んだ、在原業平や小野小町などが代表的な歌人である。
English: As for the literature, female nobles played important roles as Sei Shonagon wrote "Makura no Soshi" (The Pillow Book), Murasaki Shikibu wrote "Genji Monogatari" (The Tale of Genji).
Japanese: 文学の世界では、女性の活躍が目ざましく清少納言が『枕草子』、紫式部が『源氏物語』を書いた。
English: Except for those women, "Ogura Hyakunin Isshu" selects other highly talented female poets who served the court, such as Izumi Shikibu, Daini no Sanmi, Akazome Emon, Koshikibu no Naishi, and Ise no Osuke.
Japanese: 二人のほか百人一首には、和泉式部、大弐三位、赤染衛門、小式部内侍、伊勢大輔といった宮廷の才女の歌が載っている。
English: In the transition from the Heian period in which nobles had dominated the politics and culture to the Kamakura period in which bushi began ruling the nation, the uneasy atmosphere spread over people and such people came to rely on Buddhism.
Japanese: 貴族中心の平安時代から、武士が支配する鎌倉時代へうつる不安な世の中で、仏教を心の支えにする人が増えた。
English: "Ogura Hyakunin Isshu" selects the characteristic poets of that period such as Priest Saigyo, Priest Jakuren, and a famous bushi MINAMOTO no Sanetomo.
Japanese: 百人一首もこの時代を反映し、西行や寂蓮などの隠者や源実朝などの武士の歌も登場する。
English: Most poems of that period are also found in "Shinkokin Wakashu" which FUJIWARA no Teika himself took a part in compiling, and the poets of that period expressed their minds through various symbols to make colorful, picture-like poems.
Japanese: 藤原定家自身も撰者となった『新古今和歌集』の歌が中心で、色彩豊かな絵画的な歌が多く、微妙な感情を象徴的に表現している。
English: In some junior high schools and high schools, it is introduced at the beginning of classes on classic literature and the students memorize it at first.
Japanese: たとえば中学校や高等学校では、古典の入門として生徒に百人一首を紹介し、これを暗記させることがよくある。
English: The familiar rhythm is easy to memorize for Japanese, besides children are possibly familiar with "Hyakunin Isshu" through playing the uta-garuta at the New Year.
Japanese: そのため、暗唱しやすく、　また、後述するように正月に遊戯として触れることも多いので、生徒にとってなじみがあるからである。
English: This includes the agreement of adverbs, therefore it is a proper material for beginning to read classic literature.
Japanese: 副詞の呼応などの文法の例も含まれることから、古典の入門として適した教材だといえる。
English: At present, "Hyakunin Isshu" is more familiar as karuta (card game) than as a collection of poetry and people playing Hyakunin Isshu Karuta are often found at the New Year.
Japanese: 百人一首は現在では歌集としてよりもかるたとしてのほうが知名度が高く、特に正月の風物詩としてなじみが深い。
English: The Hyakunin Isshu Karuta is called 'uta-garuta' (literally, 'poem karuta'); the details of the game are as follows.
Japanese: 百人一首のかるたは歌がるたとも呼ばれるもので、現在では一般に以下のような形態を持つ。
English: The cards yomi-fuda and the tori-fuda are 74 millimeters long and 53 millimeters wide, and a little thicker than usual card for games since they are made of layers of papers like Hana-fuda ('Flower Cards,' another Japanese cards for game).
Japanese: 読み札と取り札はともに花札のように紙を張り重ねてつくられており、大きさは74×53mm程度であることが一般的である。
English: On the obverses of the yomi-fuda are written the tanka with the poets' names and portraits; the portraits are drawn in the Yamato-e painting style (a traditional painting style developed since the Heian period) based on the portraits in Kasen Emaki (picture scroll of portraits of outstanding poets); on the obverses of the tori-fuda are written only shimo-no-ku (the forth phrase and the fifth phrase of the five phrases of one tanka) in hiragana character.
Japanese: 読み札の表面には大和絵ふうの歌人の肖像（これは歌仙絵巻などの意匠によるもの）と作者の名、和歌が記されており、取り札にはすべて仮名(文字)書きで下の句だけが書かれている。
English: The yomi-fuda is colorful with the illustrations while the tori-fuda is colorless with only the letters (although it's confusing, yomi-fuda of general karuta card is colorless and tori-fuda is colorful called 'efuda' or 'picture card').
Japanese: 読み札には彩色があるが、取り札には活字が印されているだけである点が大きく異なる。
English: At present, only a few toy companies of Kyoto, Nintendo, Ohishi-Tengudo and Tamura-Shogundo produce karuta.
Japanese: かるたを製造している会社として有名なのは、京都の企業である任天堂、大石天狗堂、田村将軍堂で、現在ではこの3社がほぼ市場を寡占している。
English: At present, a whole tanka (thirty-one syllables arranged as 5-7-5-7-7) is written on each yomi-fuda, however, until the end of the Edo period, a poet's name and only ue-no-ku (the first phrase, the second phrase, and the third phrase) was written on each yomi-fuda, and on each tori-fuda, only shimo-no-ku (the forth phrase and the fifth phrase) in hiragana characters of kuzushi-ji (cursive hand) was written.
Japanese: 江戸期までの百人一首は、読み札には作者名と上の句のみが、取り札には下の句が、崩し字で書かれており、現在のように読み札に一首すべてが記されていることはなかった。
English: Since the uta-garuta was made originally for memorizing the tanka of "Ogura Hyakunin Isshu" through the game, ue-no-ku and shimo-no-ku were written separately on the yomi-fuda and the tori-fuda, therefore, on some uta-garuta before the middle of the Edo period were not drawn even the portraits of the poets.
Japanese: これは元来歌がるたが百人一首を覚えることを目的とした遊びであったためであり、江戸中期ごろまでは歌人の絵が付されていない読み札もまま見られる。
English: At present, in the Hokkaido region is found the trace of the uta-garuta of the Edo period; it is a unique game called 'Shimo-no-ku Karuta' using the yomi-fuda without the portraits of the poets and the thick wooden tori-fuda on which are written only shimo-no-ku in classical kuzushi-ji, and in that game, the players read only shimo-no-ku.
Japanese: また、現在でも北海道地方では、下の句かるたというやや特殊な百人一首が行われており、読み札に歌人の絵がなく、上の句は読まれず下の句だけが読まれ、取り札は厚みのある木でできており、表面に古風な崩し字で下の句が書いてあるという、江戸期の面影を残したかるたが用いられている。
English: The Hyakunin Isshu Karuta had been often played when children and young people gathered at some events and gradually became an essential game for New Years.
Japanese: 歌かるたが正月の風俗となったのは格別の理由があるわけではなく、もともとさまざまな折子供や若者が集まって遊ぶ際に百人一首がよく用いられたことによるものである。
English: In New Years, children were allowed to sit up late and play games, besides, in the late Edo period, the New Year's special event playing the Hyakunin Isshu Karuta began, therefore, the game gradually became fixed as a New Years activity.
Japanese: そのなかでも特に正月は、子供が遅くまで起きて遊ぶことをゆるされていたり、わざわざ百人一首のための会を行うことが江戸後期以降しばしば見られたりしたこともあり、現在ではこれが正月の風俗として定着しているものであろう。
English: At present, in some elementary schools played Goshoku Hyakunin Isshu ('goshoku' means 'colored with five colors') which cards are divided into five groups by the difficulty of memorizing the tanka.
Japanese: 今では、百人一首を五色に分けている五色百人一首などが多くの小学校で行われている
English: The yomi-te has all the yomi-fuda and the players lay all one hundred tori-fuda at random on tatami or some floor.
Japanese: 読み札をまとめて読み手に渡し、取り札は百枚すべてを畳の上などに散らして並べる。
English: The tori-fuda should never be arranged neatly to ensure fairness.
Japanese: このとき不平等にならないように、取り札の頭はそれぞればらばらな方を向いているようにならなければならない。
English: Since more than two tori-te simultaneously shove their hands to take the tori-fuda and often confuse who touched the tori-fuda first, so sometimes the tori-te presses the tori-fuda by the palm, and when the hands of more than two tori-te clashed or piled up over one tori-fuda, the tori-te who is directly touching the tori-fuda has the right to take it.
Japanese: 同時に何人もが同じ札をおさえた場合には、手がいちばん下にある人がこれを取る権利を持つ。
English: The tori-te who touches the wrong tori-fuda (not matching the yomi-fuda) is called 'otetsuki' and pays some penalty, however, unlike 'Genpei Gassen,' the penalty is not strict.
Japanese: 間違った札を取った場合（お手つき）には何らかの罰則が行われるが、源平のようにしっかりとした決まりごとはない。
English: In the past, only ue-no-ku was written on the yomi-fuda so the yomi-te read only ue-no-ku and the tori-te had to remember the matching shimo-no-ku in the instant to complete the tanka, therefore the game was quite meaningful for memorizing tanka and for creating competition; the whole tanka is written on the current yomi-fuda and the yomi-te reads all, therefore the original purpose has been lost.
Japanese: 本来は読み札には上の句しか書いてなかったために、この遊びかたは百人一首を覚えるうえでも、札の取り合いとしても、それなりの意味があったのだが、現在では読み札に一首すべて書いてあるために、本来の意図は見失われている。
English: However, it is a convenient way for many players to participate, so people often played this way in karuta parties.
Japanese: ただし大人数で同時に遊ぶためには都合のいい遊びかたで、かつてのかるた会などではたいていこの方法に片寄っていた。
English: During the Edo period, the yomi-te would sometimes read the name of the poet and only ue-no-ku, as another way of playing the game.
Japanese: お散らしに限らず、江戸時代までは読み手は作者の名前から順に読み上げ、上の句が終わったところで読むことをやめるのが常であったようだ。
English: At present, the yomi-te usually doesn't read the names of poets while reading the whole tanka, and when the tori-te can't find the tori-fuda, the yomi-te even repeats the shimo-no-ku.
Japanese: 現在では作者名をはぶき、最後まで読んでしまう（なかなか取り手が取れない場合には下の句を繰りかえす）。
English: Some people say that the yomi-te shouldn't place as much of an interval between the ue-no-ku and the shimo-no-ku, however, that opinion is nonsense if one considers the original purpose.
Japanese: 読みかたに関しては上の句と下の句のあいだで間をもたせすぎるのはよくないといわれるが、本来の遊び方からいえばナンセンスな問題ともいえる。
English: The Chirashi-tori is a general way for playing Hyakunin Isshu Karuta, unlike that, in the Sakasama Karuta (literally, 'reversed karuta'), the illustrations drawn on the yomi-fuda drawn (sometimes called 'e-fuda') are used as the cards for taking and the tori-fuda written only the shimo-no-ku (sometimes called 'shimo-no-ku-fuda') are used as the cards for reading.
Japanese: 本来の百人一首は上記である散らし取りが一般的であるが、この逆さまかるたは読み札（絵札）が取り札になり、下の句札（取り札）が読み札となるもの。
English: It is a useful exercise to develop the ability to recall ue-no-ku by after only hearing the shimo-noku.
Japanese: このゲームの目的は「下の句を聞いて上の句を知る」ための訓練ゲームでもある。
English: The player who takes the most cards is the winner as well; players often touch the wrong cards and are penalized since difficult kanji characters written on the e-fuda can play tricks on a players' eyes.
Japanese: もちろん、多くの札を取った人が勝ちとなるが、取り札である読み札には漢字が混じるため視覚からくる思わぬ錯覚なども加わって、思わぬところで「お手付き」があるのもこのゲームの特徴である。
English: When a player takes an opponent's tori-fuda, the player hands one tori-fuda from his group to the opponent.
Japanese: このとき相手のチームの札を取ったときは、自分のチームの札を一枚相手チームに渡す。
English: This manner is well known, and it is usually played this way at the Shimo-no-ku Karuta Competition in the Hokkaido region.
Japanese: 北海道地方で行われる下の句かるた大会はほとんどがこのルールであり、民間でも一般的である。
English: The players are changed when the group's tori-fuda is taken by the opponent or for every ten poets.
Japanese: 交代のタイミングは、自分のチームの札を相手に取られたとき、10枚読まれたときなど。
English: It is the karuta tournament played by the rule of All-Japan Karuta Association.
Japanese: 社団法人・全日本かるた協会の定めたルールのもとに行われる本格的な競技。
English: At the beginning of every January, Meijin-sen Tournament and Queen-sen Tournament are held at Omi-jingu Shrine of Otsu City, Shiga Prefecture.
Japanese: 毎年一月の上旬に滋賀県大津市にある近江神宮で名人戦、クイーン戦が開催される。
English: The Meijin-sen (literally, 'master tournament') is for male players and the Queen-sen is for female players.
Japanese: 名人戦は男子の日本一決定戦であり、クイーン戦は女子の日本一決定戦である。
English: All the yomi-fuda are set reversed on the tatami and the players take turns revering one card at a time.
Japanese: 百枚の絵札を裏返して場におき、各参加者がそれを一枚ずつ取って表に向けていくことでゲームが進む。
English: The rule differs by area, and the general rule is as follows.
Japanese: 多くのローカルルールが存在するが、多くで共通しているルールは以下のようなものである。
English: When a player draws a 'bozu' card (or 'hage' means priest), the player puts all the te-fuda beside the yama-fuda (cards set on the center).
Japanese: 坊主（ハゲと呼ぶこともまれにある）の描かれた札を引いた場合には、引いた人の手元の札を全て山札の横に置く。
English: When a player draws a 'hime' (female) card, the player gets all the cards beside the yama-fuda.
Japanese: 女性の札（姫）を引いた場合には、引いた人がそれまでに山札の横に置かれていた札を全てもらう。
English: The following are some well-known local rules.
Japanese: さまざまな地方ルール（ローカルルール）があり、例えば次のようなものが知られている。
English: While being no card beside the yama-fuda, the player took a card drawn hime takes one more card.
Japanese: 山札の横に札が無い場合は、姫を引いた場合はもう１枚札をめくることができる。
English: When a player draws a card featuring an emperor, the player takes all of the other players' te-fuda.
Japanese: 皇帝を引いた際には、山札とその横の札を除き、すべての札が引いた人の手札となる。
English: Like the Bozu Mekuri, the players use only the yomi-fuda and don't read the poems.
Japanese: 坊主めくりと同様、首は読まず、読み札のみを使用し取り札は使用しない。
English: The game is played by four players; the players divide into two teams, and the pair sit face to face across from each other.
Japanese: 4人で行い、全員に配られた札を向かい合った二人が協力して札をなくしていく。
English: The Emperor Tenchi card is the strongest and the card of Emperor Jito is stronger than all other cards except for the Emperor Tenchi card.
Japanese: ただし、天智天皇と持統天皇は特殊で、天智天皇は全ての札に勝ち、また持統天皇は天智天皇以外に勝つ。
English: The illustrations differ according to painter and age, so the games differ according to the pack of cards used.
Japanese: 絵の書いた人、時期によって、100枚のうちの絵柄の構成が変わるゲームである。
English: The second player shows one card of the same group and takes the first player's card; when the player shows Emperor Jito, the next player takes it only by showing Emperor Tenchi; if a player doesn't want to take any card, the player must show the Emperor Tenchi card, assuming the player possesses the card.
Japanese: 出された人は、同じ絵柄の札か、持統天皇、天智天皇の札を出して受ける（天智天皇はどの札も受けられないし、持統天皇は天智天皇のみで受けられる）。
English: The player who doesn't take the previous player's card is passed.
Japanese: 受けることが出来なかった場合、何も出せずに右隣の人に順番が移る（最初に出した人の向かい側の人が出す）。
English: This game selects poems by poets who were not selected for "Ogura Hyakunin Isshu" except for the poet of the 91st poem Junii Naritada no Musume (a daughter of TAKASHINA no Naritada of the junior second rank), the poet's name is TAKASHINA no Kishi (Takako) and she was identical to Gido-sanshi no Haha (the mother of Supreme Minister FUJIWARA no Korechika), the poet of the 54th poem of "Ogura Hyakunin Isshu."
Japanese: 小倉百人一首に採られなかった歌人の作を選定しているが、91番「従二位成忠女」は小倉の54番・儀同三司母（高階貴子）と同一人物。
English: The 64th poem is by MINAMOTO no Kunizane (Kuninobu) who was selected for Teika's "Hyakunin Shuka" (the poem is different from the one in "Hyakunin Shuka").
Japanese: また、『百人秀歌』に見える源国信も64番に入首（百人秀歌とは別の歌）。
English: It was re-published in 1672 with illustrations by Moronobu HISHIKAWA and written by Nanshu TOGETSU.
Japanese: また寛文12年（1672年）、菱川師宣の挿絵、和歌は東月南周の筆で再刊された。
English: It is regarded as the first book illustrated by Moronobu HISHIKAWA which he signed as 'Eshi Kichibei HISHIKAWA' ('eshi' means painter).
Japanese: 菱川師宣の署名した絵入り本の最初とされ、絵師菱川吉兵衛と署名された。
English: The feature is selecting poems from not only chokusen wakashu (anthology of Japanese poetry compiled by Imperial command) but also shisen wakashu (personal collection of poetry) such as "Shoku Shika Wakashu" (The Continued Waka Collection of Verbal Flowers).
Japanese: 勅撰集だけでなく、『続詞花和歌集』などの私撰集からも採録しているのが特徴。
English: Poems having over one hundred characters from "the Tale of Genji" were gathered.
Japanese: 『源氏物語』に登場する人物の和歌を採録しているが、その数は100人以上。
English: Unlike "Ogura Hyakunin Isshu" which is full of love songs, it contains outstanding poems which 'express the patriots' spirits.'
Japanese: 恋歌の多い小倉百人一首に代わって「愛国の精神が表現された」名歌を採録した。
English: Fubutsushi means events or things unique to a season--natural phenomena, tastes, living things, and street vendors-- that characterize the season in people's mind.
Japanese: 風物詩（ふうぶつし）とは、ある季節特有の自然現象、味覚、生物、物売りなどであり、その季節をより意識に特徴づける事ができる、物・事柄のことである。
English: Fubutsushi covers a wide range of things and differs from words restricted as kigo (a season word) for haiku (Japanese seventeen-syllable poem) in that Fubutsushi refers to things with which a season in Japan appeals to the mind of our modern people.
Japanese: 風物詩の範囲は幅広く、俳句の季語として限定されたものと違って、日本の季節を現代人の我々の心に訴えかけているものを指す。
English: Fubutsushi also commonly ranges from things found nationwide to things in a limited region such as festivals and is used to express the coming of a season and seasonal turning points.
Japanese: また全国的な物から、祭などの狭い地域の物まであり、季節の到来・節目を表現するときに使われることが多い。
English: The following illustrates nationwide Fubutushi that appear on news, weather forecasts, newspapers and so on.
Japanese: 以下にニュースや天気予報、新聞などに登場する、全国的な風物詩を例示する。
English: The first spring gale - pattern formed by snow still lying on a mountainside after the spring thaw - a school rucksack - new employees - Annual National Senior High School Volleyball Tournament - the Invitational High School Baseball Tournament - a doll displayed at the Girls' Festival, (a doll displayed at the Dolls' Festival) - Koinobori (carp streamer) - May depression syndrome
Japanese: 春一番-雪形-ランドセル-新入社員-全国高等学校バレーボール選抜優勝大会-選抜高等学校野球大会-雛人形-鯉幟-五月病
English: the graduation ceremony - cherry blossom viewing - entrance ceremony - open burning - puppet festival - the Boys' Festival - Golden Week (early-May holiday season in Japan) - Mother's Day - rice planting
Japanese: 卒業式-花見-入学式-野焼き-桃の節句-端午の節句-ゴールデンウィーク-母の日-田植え
English: uchimizu (watering) - uchiwa (round fan) - sensu (folding fan) - electric fan - air conditioner - a bamboo blind - wind chime - evening cool - highland - dabbling in water - pool
Japanese: 打ち水-団扇-扇子-扇風機-エアコン-簾-風鈴-夕涼み-高原-水遊び-プール
English: an ayu (a sweetfish) - cicadas (chorus of cicadas) - Japanese dynastid beetle - firefly - mosquito (mosquito coil, kaya (mosquito net)) - register marks - goldfish
Japanese: アユ-セミ（蝉時雨）-カブトムシ-ホタル-カ（蚊取線香・蚊帳）-トンボ-金魚
English: summer vacation - National High School Baseball Championship - school camp - seaside school - summer time - the Bon Festival - Shoryonagashi (floating lanterns or offerings for the spirits of the deceased) - the radio gymnastic exercises - Tanagyo (sutra for the Bon festival)
Japanese: 夏休み-全国高等学校野球選手権大会-林間学校-臨海学校-夏時間-御盆-精霊流し-ラジオ体操　-　棚経
English: autumn leaves - a maple tree - ginkgo - fallen leaves - Japanese pampas grass - Japanese clover - the seven flowers of autumn - lycoris - cosmos - chrysanthemum - gentian - Eupatorium fortunei - Chinese bellflower - dahlia - Valerian Family - cockscomb - fragrant olive - thistle - Canada goldenrod
Japanese: 紅葉-カエデ-イチョウ-落葉-ススキ-ハギ-七草秋の七草-ヒガンバナ-コスモス-キク-リンドウ-フジバカマ-キキョウ-ダリア-オミナエシ-ケイトウ-キンモクセイ-アザミ-セイタカアワダチソウ
English: snow - hoarfrost - ice pillar - skiing - ice skating - Christmas tree - Arima Kinen Nakayama Grand Prix - bonfire - illuminations - treading barley plants - Hakone Ekiden - wooly aphid
Japanese: 雪-霜柱-氷柱-スキー-アイススケート-クリスマスツリー-有馬記念-焚き火-イルミネーション-麦踏み-箱根駅伝-雪虫
English: Jidaigeki (period drama) is a genre of theater, film and television shows based on various periods in Japanese history.
Japanese: 時代劇（じだいげき）とは、日本の歴史における各時代的背景などを取り入れた演劇や映画、テレビドラマなどである。
English: A jidaigeki often features quasi-historical events and famous figures from throughout Japanese history, but customs, manners, sound effect, dialogue and language in addition to the characterisation of these figures are significantly fictionalised to appeal to a mass audience.
Japanese: 歴史上にありえた日本の事件や日本史の人物を登場させることも多いが、その人物像をはじめ慣習、風俗、効果音、台詞、言語においても大胆にフィクション化され、大衆受けするように加工されている。
English: Although there is no clear definition as to which periods qualify as jidaigeki, those based on periods up to the Meiji Restoration are often referred to as such.
Japanese: どこまでの時代を扱った作品が「時代劇」と呼ばれるかに明確な定義はないが、明治維新までを扱った作品がそう呼ばれることが多い。
English: On the other hand, stories which go too far back in history are often not referred to as jidaigeki (for example, the mythological age and the Yayoi Period, the time of Queen Himiko).
Japanese: 逆にあまりにも時代がさかのぼると、「時代劇」と呼ばれないことがある（神代や卑弥呼を扱った弥生時代など）。
English: In general, jidaigeki mainly refers to works based on with the period between the Heian and the Meiji Restoration.
Japanese: おおむね、平安時代から明治維新までを扱った作品が「時代劇」と呼ばれることが多い。
English: Just as we differentiate between period novels and historical fictions, it is possible to refer to a more non-fiction piece as a 'historical drama.'
Japanese: 時代小説との区別がそうであるように、時代劇よりもノンフィクションに近いものを「歴史劇（史劇）」と呼ぶことも考えられる。
English: In practice, however, those created abroad are often referred to as 'historical dramas,' whereas those made in Japan are referred to as 'jidaigeki' to distinguish between them.
Japanese: とはいえ、実際には日本以外のものを「歴史劇」、日本国内のものを「時代劇」と呼び分けていることが少なくない。
English: In English-speaking countries, plays equivalent to the Japanese jidaigeki are referred to as 'period pieces' or 'period dramas' and the Japanese period dramas (characterised by the importance of swordfighting) are often distinguished by calling them jidaigeki.
Japanese: 英語圏では、日本の時代劇に相当する劇をPeriodpieceまたはperioddramaなどと呼んで、これらは「時代劇」の意味を持つが、剣劇を中心とする日本の時代劇のことはjidaigekiと呼んで区別することが多い。
English: Jidaigeki began in the Meiji period when literature became popular with the masses and studios were built in Kyoto to produce jidaigeki films.
Japanese: 時代劇は、明治に文学の世界で大衆文学が流行し、映画の製作が京都に撮影所が設けられて始まる。
English: With their main element being swordfighting, both kyugeki and jidaigeki were hugely popular.
Japanese: その中心は剣劇（いわゆるチャンバラ時代劇）であり、いずれも大好評を博した。
English: After Japan's surrender in the Pacific War, they came under the occupation of the General Headquarters (GHQ).
Japanese: 太平洋戦争降伏後に日本が連合国軍最高司令官総司令部（GHQ）の占領下に置かれる。
English: Through the terms of the occupation, jidaigeki production was temporarily restricted on the basis that dramas with characters brandishing Japanese swords were militaristic and glorified acts of vengeance, thus had an element of arousing hostility towards the States.
Japanese: その占領政策により、日本刀を振り回す剣劇（チャンバラ時代劇）は軍国主義的であり、敵討ちなど復讐の賛美がアメリカ合衆国に対する敵対心を喚起する要素があるとして一時製作が制限された。
English: (Detective novels and films were allowed, as their main theme was solving a mystery.)
Japanese: （犯人を推理する展開を描写の中心とする『捕物帳』ものに付いては小説の執筆や映画公開が許された）
English: In 1953, in conjunction with the start of television broadcasting in Japan, televised jidaigeki dramas also began to be produced.
Japanese: 1953年、日本でのTV放送スタートと同時にTVで放送するための時代劇（テレビ時代劇）の製作もはじまる。
English: In 1963, the Japan Broadcasting Corporation (NHK) began broadcasting of the long-running jidaigeki television series NHK Saga Drama which is still shown today.
Japanese: 1963年には日本放送協会が現在まで放送を継続する長寿時代劇シリーズ・大河ドラマの放送も開始。