nntsuzu/KFTT huggingface dataset:
English: Later works such as "Shugyoku henji sho" (by Sogi), "Rokasho"(by Shohaku) and "Sairyusho"(by Sanetaka SANJONISHI), although they made minor alterations to parts, generally followed the chronology.
Japanese: これは後に『種玉編次抄』（宗祇）、『弄花抄』（肖柏）、『細流抄』（三条西実隆）などによって部分的に手直しされることもあったが概ね踏襲されていった。
English: The 'Toshidate' that were recorded in Edo period publications such as 'Kogetsusho' (The Tale of Genji Moon on the Lake Commentary) are also, basically, Kanera ICHIJO's chronology.
Japanese: 湖月抄などの江戸時代の版本に収録されている「年立」も基本的には一条兼良の作った年立である。
English: Kanera ICHIJO's chronology is called 'the old chronology' in contrast with the later one by Norinaga MOTOORI ('the new chronology').
Japanese: この一条兼良の作った「年立」を後に本居宣長が作った「年立」（「新年立」）に対して「旧年立」と呼んでいる。
English: In the Edo period, Norinaga MOTOORI examined 'the old chronology' in his "Genji monogatari nenkiko"(written in 1763), revised part of it and included it as 'the improved and corrected chronology.'
Japanese: その後江戸時代に入り本居宣長は『源氏物語年紀考』（1763年（宝暦13年））において「旧年立」に考察を加え、「旧年立」を一部改めたものを「改め正したる年立の図」として作った。
English: The third volume of the "Genji Monogatari Tama no Ogushi" (Jeweled Comb of The tale of Genji, written in 1799) followed it, and the second volume of the "Sumire so" (1812) written by Kyubi KITAMURA, who studied under Norinaga MOTOORI, followed it in a sophisticated way.
Japanese: これは『源氏物語玉の小櫛』（1799年（寛政11年））第3巻に受け継がれ、本居宣長の弟子である北村久備が著した「すみれ草」（1812年（文化9年））の下巻おいてさらに整った形で受け継がれていった。
English: Between these chronologies, there is a one-year 'gap' between the 'Hahakigi' and 'Otome' chapters.
Japanese: 両者の間には「帚木」巻から「少女」巻までの間に1年の「ずれ」が存在する。
English: The main reason comes from differences between interpretations of the connection between the 'Otome' and 'Tamakazura' (The Jeweled Chaplet) chapters.
Japanese: その最も大きな原因は「少女」巻と「玉鬘」巻の接続関係をどう理解するかの違いによるものである。
English: Compared to the old chronology, it is regarded that, on the whole, the new chronology is more reasonable.
Japanese: 旧年立と新年立を比べて見ると、概ね新年立のほうが合理的であると考えられる。
English: Many printed books, encyclopedias and handbooks on The Tale of Genji published in modern times include 'toshidate'.
Japanese: 近代以降の多くの源氏物語の印刷本や事典・ハンドブック類には「年立」が収録されている。
English: Most of them are based on 'the new chronology,' revised and enlarged by editors when deemed necessary.
Japanese: ほとんどは「新年立」を元にしたものにそれぞれの編者らが必要と思われる補訂を加えたものになっている。
English: However, it has been pointed out that some problems, such as how much time passed between the second and third part, and the age of Rokujo no Miyasudokoro, are unresolvable, even using the new chronology.
Japanese: 但し、第二部から第三部までの経過期間の問題や六条御息所の年齢の問題など、新年立によっても解決されない問題がいくつか存在することが指摘されている。
English: The thousandth anniversary of the Tale of Genji refers to various events held to commemorate a thousand years since the Tale of Genji was written.
Japanese: 源氏物語千年紀（げんじものがたりせんねんき）とは、源氏物語の成立千年を記念して実施される様々な事業である。
English: The date is based on the appearance of phrases such as 'Wakamurasaki' (Lady Murasaki) and 'Genji' in the entry for December 7, 1008 of "Murasaki Shikibu nikki" (Diary of Lady Murasaki Shikibu).
Japanese: 紫式部日記の1008年（寛弘5年）11月1日の条に、「若紫」や「源氏」などの記述があることを根拠とする。
English: 2008 marked exactly a thousand years since records confirm that the Tale of Genji was being read.
Japanese: 2008年（平成20年）が、源氏物語が読まれていたことが記録のうえで確認されるときからちょうど一千年を迎える。
English: As it is considered 'an important date,' many events were held to commemorate it.
Japanese: そのことを「大きな節目」と捉え、記念して実施される様々な事業である。
English: November 1: A group of eight people, led by Genshitsu SEN and comprising Ken AKIYAMA, Takeshi UMEHARA, Jakucho SETOUCHI, Donald KEENE, Toru HAGA, Yasuhiko MURAI and Kimiko REIZEI, made 'an appeal for the thousandth anniversary of the Tale of Genji.'
Japanese: 11月1日　千玄室（代表）、秋山虔、梅原猛、瀬戸内寂聴、ドナルド・キーン、芳賀徹、村井康彦、冷泉貴実子の8人により「源氏物語千年紀のよびかけ」が行われた。
English: November 1: A commemorative ceremony, attended by the present Emperor and Empress, was held at the Kyoto International Conference Center.
Japanese: 11月1日京都国際会議場で、今上天皇・皇后臨席の元、記念式典が行われてた。
English: The official web site was closed, and the 'Committee for the Thousandth Anniversary of the Tale of Genji' was reorganized into the 'Committee to promote Classics Day.'
Japanese: 公式サイトが閉鎖され、「源氏物語千年紀委員会」が「古典の日推進委員会」に改組された。
English: The Committee for the Thousandth Anniversary of the Tale of Genji was set up as the central promoting organization of the thousandth anniversary of the Tale of Genji project.
Japanese: 源氏物語千年紀事業の中心的な推進組織として源氏物語千年紀委員会が置かれている。
English: Starting with Kyoto Prefecture, Kyoto City, Uji City and the Kyoto Chamber of Commerce and Industry, which have deep connections with the Tale of Genji, the organization also consisted of prefectures and associations in the Kinki area and the Agency for Cultural Affairs.
Japanese: 源氏物語にゆかりの深い京都府、京都市、宇治市、京都商工会議所をはじめ、近畿の府県や団体、文化庁などにより構成されている。
English: Events for the thousandth anniversary of the Tale of Genji were divided into sponsored, co-sponsored, and aided and supported events, the difference between them depending on how the Committee for the Thousandth Anniversary of the Tale of Genji was involved.
Japanese: 源氏物語千年紀の事業は源氏物語千年紀委員会との関係で主催事業、共催事業、後援事業、協賛事業に分かれている。
English: The committee supported the organizers or, conversely, requested them to provide financial assistance or necessary goods in line with the theme or purpose of the events.
Japanese: 事業の趣旨・目的に応じて、委員会が事業者側に支援を行ったり逆に委員会が事業者側に対して協賛金または物品の提供を求めたりしている。
English: The bureau was placed under the committee as a working level organization with offices in Kyoto and Tokyo.
Japanese: 同委員会の元で実務を行う組織として事務局があり、京都と東京にオフィスが置かれている。
English: It is obvious that Murasaki Shikibu herself did not write it and it is often included with other works believed to be forgeries.
Japanese: しばしば偽書・偽作研究で取り上げられることは多いが紫式部が書いたものでないことは明らかなものである。
English: For various reasons, including the fact that it is not mentioned in the "Kakai-sho," a commentary from the beginning of the Muromachi period by Yoshinari YOTSUTSUJI, it is believed to have been written later.
Japanese: 室町時代初期の注釈書である四辻善成の『河海抄』に見えないことなどからそれ以後の成立と見られる.
English: Within the time scale of the story of the Tale of Genji, the above six chapters are roughly divided into two as follows.
Japanese: 上記の六帖は、源氏物語世界の中の時間的な位置付けでは、大きく以下のの二つに分かれる。
English: The chapter 'Kumogakure' describes Hikaru Genji's becoming a Buddhist monk and other events, and supplements the missing 'Kumogakure' that is thought to have existed between the ''Maboroshi' (The Wizard) and 'Niou Miya' (His Perfumed Highness) chapters.
Japanese: かつて幻(源氏物語)と匂宮の間に存在したと見られる「雲隠」の欠落を補う光源氏の出家などを描く「雲隠」
English: The other five chapters, from 'Sumori' to 'Yatsuhashi,' are sequels to the final chapter 'Yume no Ukihashi' (The Floating Bridge of Dreams), and deal with events such as Niou Miya's accession to the throne, Kaoru and Ukifune's marriage and their becoming a Buddhist monk and nun.
Japanese: 「夢浮橋」の後を補う後日譚にあたる匂宮の即位、薫と浮舟の結婚、薫と浮舟の出家などを描く巣守から八橋までの5帖
English: Additionally, the chapters of the Kumogakure Rokujo are on the whole exceedingly short compared with the original chapters of the Tale of Genji, and they describe the story so concisely that the contents look like summaries of the story.
Japanese: なお、雲隠六帖は源氏物語原典の巻々と比べると1巻の長さは概して非常に短く、ストーリーだけを完結に描く梗概的な内容を持っている。
English: For that reason, the Kumogakure Rokujo is sometimes considered a sequel, not of the original text of the Tale of Genji, but rather of one imitating the style of the digests that were popular in the medieval period.
Japanese: そのことから、雲隠六帖が源氏物語原典ではなく中世に流行した梗概書のスタイルを模して作られた源氏物語の続編であるとされることがある。
English: "Wakatai jisshu" (The Ten Styles of Japanese Poetry) is a treatise on waka poetry written by MIBU no Tadamine, one of the compilers of Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry).
Japanese: 『和歌体十種』（わかたいじっしゅ）は、天慶八年（945年）、紀貫之の門弟であり、古今和歌集の撰者の一人である、壬生忠岑が著した歌論書。
English: In its preface written in kanbun (Sino-Japanese), styles of waka are classified into ten: the "koka" (old poem) style, the "shinmyo" (mysterious) style, the "jiki" (direct) style, the "yojo" (suggestiveness) style, the "shashi" (reflecting thoughts) style, the "kojo" (elevated emotion) style, the "kiryo" (good-looking) style, the "hikyo" (witty) style, the "kaen" (splendid fascination) style, and the "ryoho" (paronomasia) style.
Japanese: その漢文の序において、和歌の体を「古歌体」・「神妙体」・「直体」・「余情体」・「写思体」・「高情体」・「器量体」・「比興体」・「華艶体」・「両方体」の十種に分類している。
English: "Kanna ninen dairi Utaawase is an utaawase" (poetry contest) held by Emperor Kazan on July 24, 986.
Japanese: 寛和二年内裏歌合（かんなにねんだいりうたあわせ）は、寛和2年6月10日(旧暦)（986年7月19日）、花山天皇によって行われた歌合。
English: Emperor Kazan was deeply interested in waka (a traditional Japanese poem of thirty-one syllables) and held another utaawase on September 2, 985.
Japanese: 花山天皇は和歌に対する関心が深く、前年の寛和元年8月10日にも歌合を開催している。
English: Hanja (referee) was FUJIWARA no Yoshichika, a maternal relative of the Emperor and Gon Chunagon (a provisional vice-councilor of state), and FUJIWARA no Kinto who was 21 years old at that time was elected to be koji (presenter of a poem) of the left side.
Japanese: 判者は天皇の外戚権中納言藤原義懐が務め、講師は左方は当時21歳の藤原公任が抜擢された。
English: Kinto was a son of FUJIWARA no Yoritada, the then Kanpaku (chief advisor to the Emperor) whose talent was recognized from his childhood, and participated in the utaawase of the previous year.
Japanese: 公任は当時の関白藤原頼忠の子であるが、幼くしてその才能は認められ、前年の歌合にも参加していた。
English: Other kajin (waka poet) who are known to have participated include ONAKATOMI no Yoshinobu, FUJIWARA no Koreshige, FUJIWARA no Sanekata, SONE no Yoshitada, FUJIWARA no Atsunobu, FUJIWARA no Akimasa, FUJIWARA no Michitsuna, FUJIWARA no Michinaga, and FUJIWARA no Tadanobu.
Japanese: 講師以外で参加した歌人として知られているのは、大中臣能宣・藤原惟成・藤原実方・曾禰好忠・藤原敦信・藤原明理・藤原道綱・藤原道長・藤原斉信らである。
English: In addition to famous kajin such as Yoshinobu and Yoshitada, it is remarkable that Michinaga and Tadanobu, young nobles of almost the same generation as the Emperor took part.
Japanese: 能宣・好忠ら著名な歌人に加えて、道長・斉信ら天皇とほぼ同世代の若手貴族が参加していることが特徴として挙げられる。
English: Participants were required to make twenty poems for twenty Kadai (subject of waka Japanese poem), including eighteen subjects related to natural features of four seasons and two subjects about human affairs, 'celebration' and 'love affairs' respectively.
Japanese: 和歌は20題20番であるが、歌題は四季の景物18と「祝」「恋」の人事題各1題ずつである。
English: Only thirteen days after this utaawase, Emperor Kazan suddenly abdicated the throne to become a priest, followed by Yoshichika and Koreshige.
Japanese: この歌合からわずか13日後、花山天皇は突如出家をして退位、義懐・惟成もこれに続いた。
English: Moshinsho is a commentary on "The Tale of Genji," written by Tanemichi KUJO, the Kanpaku (regent) during the Sengoku (Period of Warring States) and Azuchi-Momoyama periods.
Japanese: 孟津抄（もうしんしょう）は、戦国(日本)・安土桃山時代の関白・九条稙通が著した『源氏物語』の注釈書。
English: Although the original consisted of 20 volumes, there are surviving texts with 15 volumes, 21 volumes and 54 volumes.
Japanese: 成立、原本は全20巻であるが、現存本には15冊・21冊・54冊本などもある。
English: He added to the Genji scholarship of the Sanjonishi family not only theories on earlier commentaries such as the "Kakai-sho," the "Kacho yojo" (Atmosphere of Flowers and Birds) and the "Rokasho" (playing with blossoms), but also theories of his own, and annotated each volume.
Japanese: 三条西家の源氏学に『河海抄』・『花鳥余情』・『弄花抄』などの先学の説、更に自説を加えて各巻ごとに注釈を入れている。
English: "Shofu-haikai" is the word for the concept of haikai (seventeen-syllable verse) which Basho MATSUO completed.
Japanese: 正風俳諧（しょうふうはいかい）とは、松尾芭蕉が大成した俳諧の概念をさすことばである。
English: It was originally the name that Moritake ARAKIDA coined at the same time when he set haikai rules in the autumn of 1540.
Japanese: もともとは、天文9年（1540年）の秋、荒木田守武が俳諧式目の制定と同時に初めて名付けたことばである。
English: Nevertheless, it was Basho MATSUO who brought haikai, popular literature based on the nature and human life, to the high art in its form and substance.
Japanese: しかし、俳諧という、自然と人生に基礎を置く民衆的な文学を、形式・内容共に純芸術と完成せしめたのは松尾芭蕉である。
English: Basho was the core of Shomon (Basho School) Haikai, and he traveled to various parts of the country to spread 'Shofu' (right style) with deep thought over the nature and human life.
Japanese: 芭蕉が主体たる蕉門俳諧は芭蕉自身諸国を行脚し、深く自然と人生に思いを秘め「正風」を弘めた。
English: Therefore the word Shofu-haikai came to be used as a word that means Haikai of Basho, and the Chinese character for 'sho' of Shofu was sometimes written as 'sho' of Basho.
Japanese: そのことから、芭蕉の俳諧を指すことばとして用いられるようになり、蕉風俳諧とも書かれるようにもなった。
English: In the Tenmei era in the latter half of the eighteenth century, Buson YOSA tried to make a great 'innovation' by keeping the essence of Shofu but allowing freer use of words and raised a modern sense, in other words, excitement towards nature and daily life grounded in reality.
Japanese: 18世紀後半の天明期に、与謝蕪村は、あくまでも正風の真髄を護持しながらも、用語を広く自由に、近代的な感覚、即ち真実を踏まえての自然への感動と、生活への感動とを盛り上げ偉大なる「革新」を図った。
English: However, in the Meiji period in the beginning of twentieth century, led by Shiki MASAOKA, Seisei MATSUSE, Hekigoto KAWAHIGASHI, Meisetsu NAITO, and Kyoshi TAKAHAMA organized an association, New Hototogisu (name of magazine) based on "Japan" (a newspaper) and targeted to overthrow Shofu.
Japanese: だが、20世紀初頭の明治期に至って、正岡子規をはじめとする、松瀬青々、河東碧梧桐、内藤鳴雪、高浜虚子、たちは新聞『日本』に拠って、新派ホトトギス(雑誌)なる結社をおこし、正風打倒を目標とした。
English: Consequently haiku in the later ages cannot necessarily be said to have succeeded Shofu.
Japanese: そのため、それ以後の俳句は、必ずしも正風を継承しているとはいえなくなっている。
English: "Sei Shonagon Makura no Soshi Sho" is a book written in the Edo Period, commentaries on "Makura no Soshi"(the Pillow Book) written by Sei Shonagon.
Japanese: 『清少納言枕草紙抄』（せいしょうなごんまくらのそうししょう）は、江戸時代に書かれた『枕草子』の注釈書。
English: "Makura no Soshi Bochu" is a book written in the Edo Period, which is a collection of marginal notes on "Makura no Soshi" (the Pillow Book).
Japanese: 『枕草紙旁註』（まくらのそうしぼうちゅう）は、江戸時代に著された『枕草子』の注釈書。
English: "Kenchumikkan" is a book written by FUJIWARA no Teika in the early Kamakura Period, which is a collection of commentaries on "Kokin Wakashu" (Collection of Ancient and Modern Japanese Poetry).
Japanese: 顕註密勘（けんちゅうみっかん）とは、鎌倉時代前期に藤原定家によって書かれた『古今和歌集』の注釈書である。
English: The book has a date of April 24, 1221.
Japanese: 承久3年3月21日(旧暦)（1221年4月15日）の日付が入っている。
English: The book was written by FUJIWARA no Teika of the Mikohidari family who had had a chance to secretly read commentaries on "Kokin Wakashu" originally made by Kensho of the rival Rokujo Toke (Rokujo Fujiwara family), who transcribed the commentaries in its first volume of the Spring Poetry part and added his own reviews (based on the Mikohidari family's poetry school established by FUJIWARA no Toshinari) as 'mikkan' (personal views), to thereby complete his own version.
Japanese: 元は六条藤家の顕昭によって書かれた『古今和歌集』の用語に対する注釈書を対立関係にあった御子左家の藤原定家が秘かに見る機会を得て春歌上巻の部分を写し、これに自説（藤原俊成以来の御子左家の歌道家学）を「密勘」として書き加えた物である。
English: Although there is no significant difference between Kensho's views and Teika's, some parts reflect differences in the bases of viewpoints between the Rokujo Toke who favored the historical authenticity and the Mikohidari family who favored the artistic interpretation.
Japanese: 顕昭と定家の説に大きな違いはないものの、考証主義的な六条藤家と芸術的解釈の御子左家の観点の違いが反映された部分も見られる。
English: Teika left a note in the end of the book, 'Make sure not to take this book outside the window' which instructed his future generations never to allow the book to be taken out of the house.
Japanese: 定家は跋に「返々も窓のほかに出され侍まじ」と記して子孫に対してこの書の門外不出を求めている。
English: The book, however, became a book showing the differences between the theories of the Rokujo Toke and the Mikohidari family and then it was publicly printed in the Edo Period.
Japanese: 六条藤家と御子左家の学説の違いが示された書として流布され、江戸時代には公刊されるようになった。
English: FUJIWARA no Sadaie's "Okuiri," which was the next commentary on the Tale of Genji to appear, also regards it as highly important and contains a lot of quotations from it.
Japanese: これに続く源氏物語の注釈書である藤原定家の奥入においても源氏釈は非常に重要視されており、数多く引用されている。
English: It is considered that the Genji shaku was originally not an independent commentary, but rather that FUJIWARA no Koreyuki added headnotes, glosses and tags to a manuscript of the Tale of Genji that he possessed, and later put them together in one manuscript.
Japanese: 源氏釈は、もともとは独立した注釈書ではなく藤原伊行が所有する源氏物語の写本に頭注、傍注、付箋などの形で書き付けていった注釈を改めて一冊にまとめたものと考えられている。
English: As to whether it was compiled into its current single volume form by Koreyuki himself or by a later hand, there are theories supporting either view.
Japanese: 現在のような形で１冊にまとめたのが伊行自身なのか後人の手によるものなのかについては両説が存在する。
English: However, when quoted, various names are used for the commentary, such as the 'Genji Monogatari Shaku,' the 'Genji Arawakashi' and the 'Genji Arawashi,' in addition to the 'Genji Shaku.'
Japanese: が、「源氏釈」のほか「源氏物語釈」、「源氏あらはかし」、「源氏あらはし」などさまざまな書名で呼ばれている。
English: There are also many cases where, rather than the title being given, it is quoted as 'interpreted by Koreyuki,' 'interpreted by Koreyuki Ason (second highest of the eight hereditary titles),' 'judged by Koreyuki Ason,' 'judged by Koreyuki' or just 'Koreyuki.'
Japanese: 「伊行釈」・「伊行朝臣釈」・「伊行朝臣勘」・「伊行勘」・「伊行」などとして書名を記さない形で引用されることも多い。
English: According to one view, this was because the book did not have an actual title, while another says it was because in some cases, people quoted his opinions directly from the notes attached to the original manuscript before they were compiled into a single commentary.
Japanese: これは本書が一定の書名を持っていなかったためであるとする見解と本書が一冊の注釈書になる前の原型である写本に付記された注記から直接引用された場合があるからであるとする立場とが存在する。
English: It seems to have been completed by 1156 when FUJIWARA no Sadanobu, FUJIWARA no Koreyuki's father, died.
Japanese: 藤原伊行の父藤原定信が死去した1156年（保元元年）には完成していたと見られる。
English: Extant manuscripts of the Genji Shaku first mention the titles of the chapters, and add numbers to the chapter titles, and include the following features.
Japanese: 現存する源氏釈の写本ではまず巻名をあげ、巻名に数字を書き加えるという、以下のような特徴がある。
English: Unlike the average modern commentary, 'parallel chapters' that follow and are contemporaneous with the main chapter but concern unrelated events are not taken into account for the titles, counting method and order of the chapters and therefore the total number of chapters covered is thirty-seven.
Japanese: ここにあげられている巻名・数え方・順序については現在の一般的なものと比べて、並びの巻は数えておらず、全37帖になっている。
English: After the 'Makibashira' (The Cypress Pillar) chapter, it mentions a chapter called 'Sakura hito' that does not appear in the present Tale of Genji.
Japanese: 真木柱のあとに現在の源氏物語には見られない「さくらひと」なる巻の存在が示されている。
English: Although it is mentioned that 'some manuscripts have this chapter, and others do not,' the apparent text is quoted in as many as thirteen places and includes annotations.
Japanese: 「この巻はある本もあり無い本もある」とされながらもその本文とされるものが13項目にわたって引用され、注釈が加えられている。
English: However, the surrounding chapters are numbered 'twenty-five: Maboroshi' (The Wizard) and 'twenty-seven: Niou Miya' (His Perfumed Highness), suggesting a gap.
Japanese: けれども、その前後が「二十五　幻(源氏物語)」「二十七　匂宮」と開いている。
English: Although chapter 'thirty-seven: Nori no shi,' which was sometimes regarded as another name for Yume no Ukihashi (The Floating Bridge of Dreams), follows chapter 'thirty-six: Yume no Ukihashi,' it exists as a title only.
Japanese: 「三十六　夢浮橋」のあとに続く巻として夢浮橋の異名とされることのある「三十七　のりのし」なる名前の巻が名前のみあげられている。
English: Kikan IKEDA surmises that this was because the compiler considered the 'Agemaki' (Trefoil Knots) chapter a 'parallel chapter' to the 'Shigamoto' (Beneath the Oak) chapter and therefore did not give it a number.
Japanese: 池田亀鑑はこれを総角(源氏物語)を椎本の並びの巻にしてしまい巻序を示す数字を書かなかった。
English: Because of this, he gave the number 'thirty-seven' to 'Nori no shi,' originally another name for 'Yume no Ukihashi,' and made the total number of volumes in the Tale of Genji thirty-seven.
Japanese: このため元々夢浮橋の異名であった「法の師」に「三十七」という数字を振って源氏物語全巻の巻数を37としたのではないかと推測している。
English: The style of the commentary is give the chapter title, then to quote the text that is the object of the annotation, followed by the annotations.
Japanese: 巻名の後に注釈の対象となる部分の本文を引用し、その後に注釈を書き記す形を取っている。
English: The text that the Genji Shaku quotes from is one from before the Aobyoshi-bon and Kawachi-bon manuscripts (two 13th-century attempts to edit and revise the various versions).
Japanese: 源氏釈に引用されている本文は青表紙本や河内本が成立する以前の本文である。
English: It has been pointed out that some of the quoted text is close to that of the Yomei Bunko-bon (literally, the Yomei Archives manuscript), which is regarded as a beppon (manuscripts that do not belong to the Aobyoshi-bon and Kawachi-bon manuscripts).
Japanese: 引用されている本文には別本とされている陽明文庫本に近いものがあることが指摘されている。
English: Most of the comments written in it give the sources of songs and poems and the bases of historical facts.
Japanese: 書かれている注釈の大部分は引歌や引詩の出典、史実の典拠を示したものである。
English: The poet FUJIWARA no Toshinari, FUJIWARA no Koreyuki's contemporary, believed that 'poets who did not read the Tale of Genji are to be lamented.'
Japanese: 藤原伊行とほぼ同時代の歌人である藤原俊成によって「源氏見ざる歌詠みは遺恨の事なり」とされた。
English: It is believed that the comment reflects how the Tale of Genji was taken at that time, when it was regarded as important in poetry composition.
Japanese: 歌作りにおいて重視された当時の源氏物語の受け取られ方を反映していると考えられる。
English: Surviving manuscripts are all quite different from one another, with each one having completely different annotations for the same part.
Japanese: 現行の写本では、それぞれの写本ごとの異なりが非常に大きく、同じ部分に対して全く異なる注釈を加えている。
English: Haruki II believes that this is due to major revisions by Koreyuki himself, and regards the Reizeike manuscript as the first version and the Maedake manuscript as the second version.
Japanese: 伊井春樹は伊行自身による大幅な改訂が行われたためであるとしており、冷泉家本を第一次本、前田家本を第二次本であるとしている。
English: However, when the quotes are given as 'interpreted by Koreyuki' or 'Koreyuki,' rather than the title of the work, they include much that is not in any of the surviving manuscripts.
Japanese: が、「伊行釈」・「伊行」などと書名を記さない形で引用されるときに現行の写本のいずれにも含まれないものも多い。
English: For this reason, there is a theory that in addition to the revisions by Koreyuki himself, someone else made significant decisions on what to include when compiling the Genji Shaku into an independent commentary.
Japanese: そのため、伊行自身による改訂のほかに別人が独立した注釈書にするために編纂するに当たって大幅な内容の取捨選択が行われたと考える説もある。
English: The Rokujo estate is a fictitious building that appears in "The Tale of Genji" written by Murasaki Shikibu.
Japanese: 六条院（ろくじょういん、ろくじょうのいん）は、紫式部作の『源氏物語』に登場する架空の建築物。
English: The layout was based on MINAMOTO no Toru's Kawarano-in and other real mansions such as the Higashi Sanjo-dono Palace and the Tsuchimikado-dono Palace.
Japanese: モデルとして源融の河原院を始め、東三条殿や土御門殿など実在した邸宅が挙げられる。
English: As the name indicates, it stood near Rokujo-Kyogoku in Heian-kyo (Kyoto), and was built in the shinden-zukuri palatial style, covering almost four hectares.
Japanese: その名の通り、平安京の六条京極付近に四町を占める広大な寝殿造の邸宅。
English: The completion of the building and Hikaru Genji bringing his main wives and children to live there are described in the 'Otome' (Maidens) chapter.
Japanese: 「少女(源氏物語)」帖で落成、光源氏はここに主だった夫人たちと子女を住まわせた。
English: The southeast quarter corresponded to spring, the northeast quarter to summer, the southwest quarter to autumn, and the northwest quarter to winter.
Japanese: 辰巳（東南）の町が春、丑寅（東北）の町が夏、未申（西南）の町が秋、戌亥（西北）の町が冬に該当する。
English: After the young Princess Akashi entered the Imperial Court and Onna San no Miya, an Imperial Princess, married Hikaru Genji, Onna Sannomiya lived in the west part of the main hall.
Japanese: 明石の姫君が入内し、女三宮が降嫁した後は、女三宮が寝殿の西側に住んだ。
English: The pond continued into the neighboring autumn quarter, and the 'Kocho' (Butterflies) chapter describes ladies-in-waiting coming and going by boat.
Japanese: 池は隣の秋の町へと続いており、女房たちが舟で往来することもあった（「胡蝶(源氏物語)」）。
English: As the center of the Rokujo estate, the spring quarter is the setting for many opulent events and ceremonies, such as the Toka no sechie ceremony (in the 'Hatsune' (First Warbler) chapter) and the Emperor's visit to the Rokujo estate (in the 'Fuji no Uraba' (Wisteria Leaves) chapter).
Japanese: 六条院の中心として、踏歌節会（「初音(源氏物語)」）や六条院行幸（「藤裏葉」）など数多くの華やかな行事・儀式の舞台となっている。
English: However, one of Genji's granddaughters, Onna Ichi no Miya (the First Princess), lived in the east wing, and Ni no Miya (the Second Prince) also spent much of his time at the main hall (in the 'Niou Miya' (His Perfumed Highness) chapter).
Japanese: が、孫の女一宮が東の対に住み、同じく二宮も寝殿を休み所とした（匂宮）。
English: The autumn quarter was the home of Empress Akikonomu, and its garden incorporated the miniature hills and other remnants of the garden of Lady Rokujo's residence.
Japanese: 秋の町は秋好中宮の里邸で、元あった御息所邸の庭園の築山などをそのまま生かしている。