nntsuzu/KFTT huggingface dataset:
English: The mountain where they were captured is called Onitoriyama or Onitoridake (ogre-capturing mountain), and located in the present Onitori-cho, Ikoma City.
Japanese: 彼らが捉えられた山は鬼取山または鬼取嶽と呼ばれ、現在の生駒市鬼取町にある。
English: There is also a legend in Subashiri-mura, Oyama-cho, Shizuoka Prefecture that EN no Ozunu subjugated and was accompanied with Zenki and Goki.
Japanese: なお、静岡県小山町須走村にも、役小角が前鬼と後鬼を調伏し従えたとする伝説がある。
English: It is also said that they had five children there (it conflicts with the Mt. Ikoma episode in time ordering though.)
Japanese: また、この地で（生駒山のエピソードと時間順序が矛盾するが）、5人の子を作ったという。
English: The five children of Zenki and Goki were called Goki (五鬼, five ogres) or Gobo (五坊, five boys).
Japanese: 前鬼と後鬼の5人の子は、五鬼（ごき）または五坊（ごぼう）と呼ばれた。
English: They are sometimes regarded same as Gikaku, Gigen, Gishin, Jugen (寿玄) and Hogen (芳玄), the great five disciples of En no Ozunu (Gikaku and Gigen are same persons with the disciples regarded same as Zenki and Goki though).
Japanese: 彼らは役小角の五大弟子と言われる義覚、義玄、義真、寿玄、芳玄と同一視されることもある（ただし、義覚・義玄は前鬼・後鬼と同一視される弟子と同一人物）。
English: They opened shukubo (lodgings in a temple) for practitioners of austerities in Shimokitayama-mura, which were named Gyojabo, Morimotobo, Nakanobo, Onakabo and Fudobo.
Japanese: 彼らは下北山村に修行者のための宿坊を開き、それぞれ行者坊、森本坊、中之坊、小仲坊、不動坊を屋号とした。
English: They also became the founders of the five families, Gokitsugu, Gokikuma, Gokijoh, Gokijo and Gokido respectively.
Japanese: またそれぞれ、五鬼継（ごきつぐ）、五鬼熊（ごきくま）、五鬼上（ごきじょう）、五鬼助（ごきじょ）、五鬼童（ごきどう）の5家の祖となった。
English: The five families kept the shukubo by having marital relation to each other, and sons of the five families had the character Gi (義) in their names for generations.
Japanese: 5家は互いに婚姻関係を持ちながら宿坊を続け、5家の男子は代々名前に義の文字を持った。
English: However, when Shugendo declined with Haibutsu-kishaku (a movement to abolish Buddhism) in the early Meiji Period, and especially by the law banning Shugendo in 1872, three families, Gokikuma, Gokijoh and Gokido closed the business and left the village, and later, the Gokitsugu family also closed the business.
Japanese: ただし、明治初めの廃仏毀釈、特に1872年の修験道禁止令により修験道が衰退すると、五鬼熊、五鬼上、五鬼童の3家は廃業し里を出、その後、五鬼継家も廃業した。
English: Only the Gokijo family of Onakabo still has shukubo now, and Yoshiyuki GOKIJO is the 61st family head.
Japanese: 小仲坊の五鬼助家のみが今も宿坊を開き、61代目の五鬼助義之が当主となっている。
English: Hiochi is one of the terms on manufacturing sake (rice wine), and it means that sake in the manufacturing process has become cloudy and spoiled, while being stored.
Japanese: 火落ち（ひおち）とは、日本酒の製法用語の一つで、製造している日本酒が貯蔵中に白濁して腐造することをいう。
English: Hiochi happened frequently in the old days, because it was difficult to completely pasteurize sake in the wooden barrels of that time as their insides were insanitary.
Japanese: 昔の不衛生な木樽では内部まで完全に殺菌することが困難だったため、頻繁に起こっていた現象だった。
English: This phenomenon itself has been known from ancient times, and the heating process to prevent it has been done from the Middle Ages (the times around the Heian period) in the history of sake.
Japanese: 現象そのものは古くから知られており、またそれを防ぐ火入れも日本酒の歴史中古から行なわれていた。
English: But it is said that the usage of the words, 'hiochi', 'hiochi bacteria', has begun to be used since the Meiji period.
Japanese: だが「火落ち」「火落ち菌」といった言葉が用いられるようになったのは明治時代以降のことだという。
English: It is known today that 'hiochi bacteria' which cause the phenomenon called hiochi live on Mevalonic acid (MVA, also known as hiochi acid) created by Aspergillus oryzae.
Japanese: 火落ちという現象を起こす「火落ち菌」はコウジカビが生成するメバロン酸（通称「火落ち酸」）を主食とすることが今日ではわかっている。
English: Hiochi bacteria are a species of lactobacillus, when they get into sake, sake becomes cloudy, oxidized and has offensive odor.
Japanese: 火落ち菌は乳酸菌の一種で、日本酒に入り込むと濁りを生じ、酸化させ、また臭みを帯びさせる。
English: Alcohol of about 6% density is the most suitable environment for them to grow, but they grow in about 25% density alcohol with no problem.
Japanese: 6%ぐらいの濃度のアルコールが最適な生育環境だが、25%程度でも問題なく成育する。
English: Main bacteria are Lactobacillus fructivorans, L. hilgardii, L. paracasei, L. rhamnosus etc. of the Lactobacillus genus.
Japanese: 主な菌は、乳酸菌ラクトバシラス属(Lactobacillus)のLactobacillusfructivorans、L.hilgardii、L.paracasei、L.rhamnosusなど。
English: The study on hiochi bacteria was launched by Teizo TAKAHASHI of Tokyo University in 1906.
Japanese: 火落ち菌についての研究は、1906年に東京大学の高橋偵造によって開始された。
English: He discovered that there were bacteria which would not grow in the ordinary culture media, but grew when sake was added, and he named them genuine hiochi bacteria.
Japanese: 彼はふつうの細菌用培地には育たないが日本酒を入れてやると生育する菌がいることを発見し真性火落菌と命名した。
English: This meant that some indispensable constituents for the bacteria to grow existed only in sake.
Japanese: これは、日本酒の中だけに菌の生育に必須の成分が存在することを示していた。
English: After this, more researches were done by many microbiologists and zymurgists, but the progress was slow.
Japanese: その後、多くの微生物学や醸造学によって更なる研究がなされたがなかなか進捗を見なかった。
English: At last in 1956, it was discovered that this constituent was Mevalonic acid by Gakuzo TAMURA of Tokyo University who took the Validation of microorganism quantification method.
Japanese: ようやく1956年になって、微生物定量法を採用した東京大学の田村学造によって、この成分がメバロン酸であることが発見された。
English: If the heating process has not been done and hiochi bacteria have been left, even today when the safe brewing is guaranteed, it sometimes becomes overripe, sour and gives off hineka (abnormal odor of overripe sake).
Japanese: 火入れをせず、日本酒のなかに火落ち菌を放置すると、安全醸造が保障されている現在でも過熟（かじゅく）になって、酒がすっぱくなったり、老ね香を発したりすることがある。
English: Heating process is a kind of heat sterilization, its temperature zone is relatively low to avoid spoiling the quality of sake.
Japanese: 火入れは加熱殺菌の一種であるが、酒質を損ねないために温度帯としては比較的低めである。
English: An Englishman named Atkinson, who visited Japan in the Meiji period, watched this heating process at sake breweries in various parts of Japan in 1881.
Japanese: 明治時代に来日したイギリス人アトキンソンは、1881年に日本各地の酒屋でこの火入れの様子を観察した。
English: He expressed a surprise to have seen that toji (sake brewing experts) applied the heat of 130 degrees Fahrenheit (about 55 degrees Celsius) to sake rightly as the temperature for them to be able to write the Japanese character 'の' barely on the surface of sake in the environment without thermometers which was different from the Western Pasteurization.
Japanese: 彼は西洋のパスチャライゼーションと異なり温度計のない環境で、杜氏が酒の表面に「の」の字がやっと書ける熱さとしてぴったりと華氏130度（約55℃）をあてることに驚きを表明している。
English: Thereafter, the temperature of heating process was 60 degrees Celsius at the time of the discovery of hiochi bacteria, and it is usually from 62 to 68 degrees Celsius today.
Japanese: その後、火入れの温度は火落ち菌の発見当時で約60℃、現在でも62℃から68℃を以って通例とする。
English: Zeshi rokuju igo Sarugaku dangi (also known as "Sarugaku dangi") was established in the Muromachi Period, which is a written record on Zeami's discourse about the art and has been handed down from ancestors as a collection of art treatises on Nohgaku.
Japanese: 世子六十以後申楽談儀（ぜしろくじゅういごさるがくだんぎ）、通称『申楽談儀』は室町時代に成立した、世阿弥の芸談を筆録した能楽の伝書、芸道論。
English: In November, 1430, Motoyoshi KANZE who was the second son of Zeami and taiko yakusha (drum player) at Kanzeza troupe wrote down what had been told by his father and presented it to his father Zeami.
Japanese: 永享2年（1430年）11月、世阿弥の次男で、観世座の太鼓役者であった観世元能が、父がこれまで語った芸談を筆録・整理して、世阿弥に贈ったものである。
English: As 'Zeshi (the honorific title of Zeami) rokuju igo (after 60 years old)' indicates, the book was to pass Zeami's theory of Noh after he had handed over his position of KANZE dayu to his first son Motomasa KANZE and entered the priesthood when he was 60.
Japanese: 題名に「世子（世阿弥の尊称）六十以後」とあるように、即ち観世大夫の地位を長男の観世元雅に譲り、出家した60歳より後の世阿弥の芸論を伝える書である。
English: Also, because it is a dictation of what Zeami said as it is, there are many parts whose meanings are difficult to grab and understand.
Japanese: また聞き書きをそのまま収録したものであることからやや意味を捉えづらい、難解な点も多い。
English: Since it is a collection of valuable direct discourse based on Zeami's real experience, however, it is regarded as valuable as the book by Zeami himself or more.
Japanese: しかし世阿弥の実体験に基づく貴重な直話を多く収録しており、世阿弥自身の著述と同様か、あるいはそれ以上に重視されている。
English: Zeami, who had succeeded Kanzeza troupe from his father, took the art of dengaku and Omi sarugaku, his rivals, into his sarugaku.
Japanese: 父・観阿弥から観世座を受け継いだ世阿弥は、ライバルであった田楽、近江猿楽などの芸を取り入れた。
English: Making use of the knowledge on aristocratic culture, he acquired through waka (a traditional Japanese poem of thirty-one syllables) and Japanese classics, he devoted his life to establishing 'sarugaku' in both the aspects of art and theory.
Japanese: 和歌や古典を通じて得た貴族的教養を生かし「猿楽」を芸能・理論の両面から大成させることに心血を注いだ。
English: As a result, in 1399 he had the honor of performing kanjin sarugaku for three days under the auspices of Shogun Yoshimistu ASHIKAGA, at which point he reached the pinnacle of the performing arts world.
Japanese: その結晶として、応永6年（1399年）には足利義満の後援で三日間の勧進猿楽を演じ、名実ともに芸能界の頂点に立った。
English: And the next year, he wrote "Fushikaden (the Flowering Spirit), the first theory book on the Noh in history.
Japanese: その翌年には史上最初の能楽論書である『風姿花伝』を執筆したのである。
English: And later on, while he was taking the important position in the world of sarugaku, he was actively engaged in instructing Noh actors in the next generation including Motomasa (his successor), his nephew Motoshige (Onami), Zenchiku KONPARU (his son-in-law) and Motoyoshi(the writer of "Sarugaku dangi").
Japanese: 以後も猿楽界の第一人者として重きをなす一方、後継者の元雅、甥の元重（音阿弥）、女婿の金春禅竹、そして『談儀』の著者である元能など次世代の能楽師たちの指導に励んだ。
English: For the purpose of accomplishing it, he wrote densho (books handed down from ancestors) such as "Kyoka, "Shikado" and "Sando" in order to consolidate the succession of his Noh theory and the prosperity of his troupe.
Japanese: そのために『花鏡』、『至花道』、『三道』などの伝書を執筆し、自己の能楽理論の継承と座の繁栄を磐石たらしめんとした。
English: As mentioned above, "Sarugaku dangi" deals with Zeami's discourse about Noh performance in this period, that is, when he was 60 through 68.
Japanese: 前述の通り、『談儀』が扱うのはこの時期、即ち60歳から68歳頃までの世阿弥の芸談である。
English: In 1428, when Yoshimochi ASHIKAGA died and his younger brother Yoshinori ASHIKAGA took the shogunate position, Yoshinori's favor was poured only into Onami, and Zeami and his son Motomasa came to be exposed to strong pressure.
Japanese: 応永35年（1428年）、足利義持が死に、弟・足利義教が将軍に就くと、義教の寵愛は音阿弥に注がれ、本家である世阿弥・元雅父子は強い圧迫を受けることとなった。
English: In 1429, the previous year of the establishment of "Sarugaku dangi", the Zeami and his son were forced to cancel their performance at Sento Imperial Palace.
Japanese: 本著が成立する前年の永享元年（1429年）には世阿弥父子は仙洞御所での演能を強引に中止させられた。
English: Motoyoshi, Zeami's second son, despaired of the situation and in the end decided to give up the art and enter the priesthood and live in seclusion.
Japanese: 世阿弥の次男である元能は、こうした情況に絶望し、ついに芸の道を断念し、出家遁世を決意した。
English: As the proof that he had not neglected his father's teaching, he compiled the discourse from his father into a book and presented it to his father.
Japanese: 元能はこれまで父の教えを疎かにしなかった証し立てとして、その聞き書きを本の形にして贈りった。
English: In addition, in 1432, the following year, KANZE dayu Motomasa died in Ise Province on a trip, and the next year he was taken away the position of KANZE dayu by Onami.
Japanese: なお続く4年（1432年）には大夫の元雅が伊勢で客死、5年にはついに観世大夫の地位を音阿弥に奪われるた。
English: It seems, however, that Motoyoshi joined Ochi KANZE, helping Motomasa's bereaved child Juro dayu, and returned to the world of the art.
Japanese: なお後に元能は元雅の遺児・十郎大夫を助けて越智観世に参加し、芸界に復帰したらしい。
English: What is told at the beginning of the book is the claim that sarugaku (猿楽) is 'sarugaku (申楽), which means that it is kagura (sacred music and dancing performed at shrines).
Japanese: 冒頭でまず語られるのは、猿楽とは「申楽」であり、即ち神楽であるという主張である。
English: Therefore, what should be set at the center of sarugaku is dancing and songs, not the art of mimic.
Japanese: 従って猿楽が中心とすべくは（物真似芸などではなく）、舞と歌であるとする。
English: So, it says at the first part of the book that 'Nikyoku Santai (Two performances; songs and dance, and three roles; senior men, women, and warriors) should be practiced, using the quotation from the books in the past.
Japanese: そのために『至花道』などで理論化された「二曲三体」の習道を行うよう、過去の著作を引用しつつ説いている。
English: The following part deals with 'Todo no senzo' or the explanation about the style of performance of Noh pioneers.
Japanese: 次いで述べられるのは「当道の先祖」、即ち、能の先駆者たちの芸風についての解説である。
English: This part includes Icchu, Kia (Kiami), Zeami, Zoami, Doami of Omi Sarugaku and Kanami (father of Motoyoshi KANZE).
Japanese: ここで挙げられているのは田楽の一忠、喜阿（亀阿弥）、増阿弥、近江猿楽の道阿弥（犬王）、そして父である観阿弥。
English: Zeami's memories of his childhood that he had heard about Icchu from Doyo SASAKI who died before he met Yoshimitsu ASHIKAGA, and that he saw the Kia's stage when he was twelve years old are also interesting.
Japanese: また義満との出会いの前に没していた佐々木道誉から一忠についての話を聞いたこと、12歳の時に喜阿の舞台を観たことが記されているなど、少年時代の記憶も興味深い。
English: And following part consists of 31 sections in which full account of instructions in performing and creating Noh are given, mentioning the particular examples.
Japanese: 以下は全三十一条に分けられ、能を演じる上、作る上での注意を、具体的な事例を交えつつ詳説している。
English: In Section 1, advice is given on delicate movements in performing Noh with the examples of Zoami.
Japanese: 第1条（段）として、演能上における細かな所作について、増阿弥の実例などを交えての注意。
English: In Section 2, instructions are written on how to have the audience feel the taste and elegance with examples of the particular music pieces.
Japanese: 第2条は、いかに風趣、風情を感じさせるかについて、具体的な曲を挙げながらの指導。
English: Section 3 is on instructions on 'kokorone (feelings), that is, how to express the words of yokyoku (Noh song), also giving the examples of the particular music pieces.
Japanese: 第3条は「心根」、即ち謡曲の文辞をいかに表現するかについて、やはり具体的な曲を挙げて説明する。
English: In this section, there are some interesting episodes; there was conflict of opinion with Motomasa over a Noh program "Sumidagawa River", and when Zeami was playing opposite to Enami of Settsu Sarugaku, he outwitted Enami by deliberately stopping the performing, and the like.
Japanese: またこの条では、「隅田川(能)」を巡り元雅との間に意見の対立があったことや、また世阿弥が義満の御前で摂津猿楽の榎並と競演したとき、わざと舞を止めて榎並を出し抜いた話など、興味深い挿話が記されている。
English: The sections explain in detail music of shugen (celebration), kakari utai (chanting of a Noh text), namari (accent), hyoushi (beat) and kurai (rank), telling the rival's episodes.
Japanese: 祝言音曲・曲舞謡・かかり・訛り・拍子・位などがライバルたちのエピソードも交えて詳細に語られる。
English: As Zeami said 'Writing Noh book is the life of Noh.' in "Fushikaden," Zeami put great importance on writing Noh.
Japanese: 「能の本を書く事、この道の命なり」（『風姿花伝』）と述べたように、世阿弥は作能を極めて重視している。
English: The author of this book (" Sarugaku dangi"), Motoyoshi was given densho (the book of esoterica) "Sando" whose main theme is on how to write Noh.
Japanese: 筆者・元能は、能の作り方を主題とした伝書『三道』を世阿弥から相伝している。
English: And it is estimated that he was often given instructions from Zeami on sakuno.
Japanese: 特に作能について世阿弥から教示を受ける機会が多かったと推測されている。
English: In Section 14, he gave a review on the Zeami's works in the past with the summary of "Sando."
Japanese: 第十四条ではその『三道』のまとめとともに、過去の世阿弥自身の作品にも論評が加えられている。
English: It is written in the section that again here Zeami was confident his works after Oei era (1394-1427).
Japanese: 改めて世阿弥が応永年間（1394-1427年）以降の自作に自信を持っていたことが記される。
English: It does not make any sense if the piece which seems to have a good plot on sentences does not match the actual performance, and much weight must be placed on resonance of words and sentences and their meanings must be concise…etc.
Japanese: 文章上はよい展開に見える曲も実際の演技にそぐうものでなくては意味がない、言葉の余韻を大切にし、文章は簡潔かつ意味を明快にせよ……など。
English: Section 16 is valuable because it contains instructions in sakuno and the introduction of the authors of works mentioned in "Sando"
Japanese: 第十六条は作能に当たっての心得、そして『三道』に挙げられた作品の作者紹介も含まれ、貴重である。
English: In the section, it is described that in the performance of Imakumano tayu (leading actor in a Noh play) of the troupe performed Okinamai for the first time in history and at that moment Okinamai itself transformed.
Japanese: ここで世阿弥12歳の今熊野の公演において、初めて翁舞を座の大夫が演じることになり、翁舞そのものが変質した瞬間が語られている。
English: And it is also described that by the time when "Sarugaku dangi" was written, Okinamai in original form was rarely played.
Japanese: 結果『談儀』が書かれた頃には、本来の形での翁舞はほとんど行われなくなったことが記されている。
English: In section 21, the troupes of Yamato Sarugaku that were not allowed in the capital such as Konparuza, Kongoza and Juniza, are introduced.
Japanese: 第21条では金春座、金剛座、十二座など、中央で認められていない大和猿楽の座が紹介されている。
English: Including the story about Kanami's birth, the section is the basic historical material to seek the origin of the troupes, related to the Noh, needless to say about KANZE troupe.
Japanese: 観阿弥の出生についても語られ、観世家は無論のこと、能楽に関わる諸家の起源を探る根本史料である。
English: It is also mentioned here that 'do' in the name of Doami was bestowed by Yoshimitsu after his homyo (a Buddhist name given to a person who has died or has entered the priesthood), and that it was also Yoshimitsu that ordered to read the Chinese character '世' as 'ze.'
Japanese: また道阿弥の「道」が義満の法名を拝領したものであること、世阿弥の名を「ぜ」と読むよう指示したのも義満であることなどもここで語られる。
English: Section 30 is about the necessity of structured practice, and Section 31 is about notices on services for Shinto rituals.
Japanese: 第30条は体系立てた稽古の必要性、そして第31条が神事奉仕に際しての注意である。
English: And as a supplement, the rules of Yukiza troupe set in Kanami era are added, and oral transcription that seems to be the draft exists in the form of extra book.
Japanese: 付録的に観阿弥時代に定められた結崎座の規則が掲載されるほか、草稿と思われる聞き書きが別本などの形で伝えられている。
English: At the end of the book, Motoyoshi added farewell waka (a traditional Japanese poem of thirty-one syllables) and ge (Buddhist poem) that wrap up the book to his father and mother.
Japanese: 元能は最後に、父母への別れの和歌と偈を載せ、この著作を締めくくっている。
English: Zeami's books were originally the books of inherited secret teaching written 'for the art of Noh and for the family' ("Fushikaden"), and the books did not meet the people's eyes for even more than 400 years.
Japanese: 世阿弥の著書は本来、「道のため、家のため」（『風姿花伝』）に記された秘伝の書であり、室町時代から江戸時代の間、実に400年以上人の目に触れることはなかった。
English: In 1907 the books were reprinted and published by Togo YOSHIDA, and they came to be known to the public.
Japanese: 20世紀に入ってからの明治41年（1907年）に、吉田東伍によって翻刻・刊行され初めて、その存在が広く知られることになった。
English: Similarly, "Sarugaku dangi" had been kept secretly at Ochi Kanzeza troupe where Motoyoshi, the direct descendants of Zeami and the author of the book, also joined.
Japanese: 『申楽談儀』も同様で、世阿弥の直系子孫であり、著者の元能も参加した越智観世座に秘蔵されたらしい。
English: However, the family line of Ochi KANZE came to an early end, and the densho began to spread to Ieyasu TOKUGAWA, the KANZE family head and Daimyo families (feudal lord family).
Japanese: しかし越智観世の系譜は早くに途絶え、その伝書は徳川家康、観世宗家、また大名家などに広まっていくこととなった。
English: In addition, the oral transcription mentioned above that seems to be the draft is attached to the existing "Sarugaku dangi."
Japanese: なお、現在残っている『談儀』には前述のように草稿と思わしき聞き書きなどが附属している。
English: The attachment is not included in the original book by Motoyoshi, and it is assumed that in relatively early period the attachment was added.
Japanese: これは元能の原本にはなく、別書としてまとめられていたものが比較的早い時期に追加されたものと思われる。
English: In Hori family there existed other densho besides Horibon, and they were reprinted as the original text for "Zeami jyuroku bushu" by Togo YOSHIDA.
Japanese: 堀家には他にも世阿弥の主要な伝書が残っており、それらは吉田東伍『世阿弥十六部集』の底本として翻刻されている。
English: But only "Sarugaku dangi" was reprinted based on Kosugibon (Kosugi version) described below as the original text, and from Horibon only Section 29 and following parts and main match-ups were reprinted.
Japanese: 『談儀』のみは後述の小杉本が底本となり、堀本は小杉本に欠けた29段以降と、主要な校異が翻印されたのに留まっている。
English: The Horibon belongs to the different lineage from Tanehikobon (Tanehiko version) described below, and it was the only kanbon (complete edition) of "Sarugaku dangi "that existed until modern times.
Japanese: 後述する種彦本とは系統を異にし、近代まで残った『談儀』唯一の完本である。
English: It is estimated that it was the shahon in early Edo period, and evaluated that it was probably the best book to tell the original text of "Sarugaku dangi."
Japanese: 江戸初期の写本と見られ、恐らく最もその本来の姿を伝える良本であっただろうと評価されている。
English: As is described above, it is estimated that many of the Zeami's densho were succeeded by Ochi KANZE troupe led by Ochi KANZE Juro dayu, who was the grandson of Zeami.
Japanese: 前述のように世阿弥の伝書の多くは、その孫・越智観世十郎大夫が率いた越智観世座が相続したと見られている。
English: However, soon after the death of Juro dayu, Ochi KANZE troupe failed, then Ochi Motohiro KANZE, the sixth KANZE dayu, had his eldest son Juro revive the troupe and succeed the heritage of the old Ochi KANZE.
Japanese: しかし十郎大夫の死後、間もなく越智観世の座は途絶えたため、6代観世大夫・観世元広は長男の十郎をしてこの越智観世を再興させ、旧越智観世の遺産を継承させた。
English: This Juro stayed in Suruga Province to escape from maelstrom of war in the Period of Warring States (Japan) and was found favor by Ieyasu TOKUGAWA.
Japanese: この十郎は戦国時代(日本)の戦乱を避け、駿河に滞在し、徳川家康の知遇を得た。
English: Tanehiko recognized its value and bought it, and let his fellow men of literature copy it by handwriting.
Japanese: 種彦はその貴重さを見抜いてこれを買い、また文人仲間にこれを写させた。
English: After that, Tanehikobon that was stored in Matsunoyabunko in a similar way as Horibon seemed to have safe refuge.
Japanese: その後、堀本同様に松廼舎文庫に納められ、ようやく転変の末に安住の地を得たかと思われた。
English: Although Tanehikobon does not exist as is mentioned above, Ieyasu TOKUGAWA had some of the sukisha daimyo (tea masters daimyo) such as Yusai HOSOKAWA and Nobutada ODA copy it, and the manuscript KANZE head family stored was the one that Sosetsu KANZE copied from what the daimyo had copied.
Japanese: 前述の通り種彦本は現存しないが、家康がこの『申楽談儀』を、細川幽斎、織田信忠といった数寄者の大名たちに書写させており、観世宗家の蔵したものも観世宗節がこれを写したものである。
English: Therefore, all the existing manuscripts, except the Horibon mentioned above, belong to the lineage of this Tanehikobon.
Japanese: 現在知られる写本は前述の堀本を除き全てこの種彦本の系統を引くものである。
English: It was passed down to successively in Hanawa family, and seems to be what Tanehiko RYUTEI said that it was the book stored by Hokiichi HANAWA in his library.
Japanese: 塙家に伝えられたもので、柳亭種彦がいう塙保己一が文庫に収めた本がこれであると思われる。
English: And Jusei (the tenth generation) Sagidenuemonbon (the Sagidenuemon version) is the copy of Fukuoryubon, and Harumurabon is the copy of Sagidenuemonbon by Harumura KUROKAWA in 1852.
Japanese: さらにそれを転写した十世鷺伝右衛門本を、黒川春村が嘉永5年に写したものである。
English: It is the book copied many times, but it is considered useful because in 1854 Harumura borrowed Tanehikobon from Chusai SHIBUE and proof-read his version based on it.
Japanese: 転写を重ねた本ではあるが、同7年に、種彦本を渋江抽斎から借りて、それを元に校正をしており、種彦本の復原に有用とされている。
English: It is said that Kosugibon is the book copied by Sugimura KOSUGI during Ansei era from the manuscript owned by Harumura KUROKAWA.
Japanese: 小杉榲邨が、安政年間に黒川春村所有の写本を転写したものであるという。
English: Matsuibon was copied by Butsuan NAKAMURA, a calligrapher, from Tanehikobon and was named after the owner, Kanji MATSUI..
Japanese: 文政8年、書家であった中村仏庵が種彦本を書写したもので、松井簡治がかつて所蔵したことから松井本の名がある。
English: In addition, Sosetsu made manuscript of extras from the part he had not copied.
Japanese: また宗節は、後に書写をしなかった部分から一部を抜粋した写本も作っている。
English: But there is the copy of the manuscript called Kozanbon, which is one of 'Hosokawa jubu densho' owned by Kozan Bunko Library, and there is also a manuscript called Konparubon owned by Hozanji Temple.
Japanese: だが、これを転写したものに、鴻山文庫蔵「細川十部伝書」の一冊である鴻山本、また江戸時代後期に金春座によって写された、宝山寺蔵の金春本がある。
English: As is mentioned above, the book of "Sarugaku dangi" was exposed to the public for the first time after it was reprinted and published by Togo YOSHIDA in 1908.
Japanese: 前述のように本書は、明治41年、吉田東伍によって翻刻・刊行され、初めて一般の人の目に触れることになった。
English: Although this reprint contributed to having the public know its existence, it lacks preciseness because it used Kosugibon for the original text, Tanehikobon and Horibon for correction and Horibon for the parts of from Section 29 through 31 that lack in Kosugibon.
Japanese: しかしこの翻刻は、『申楽談儀』の存在を広く伝えることには寄与したものの、書写を重ねた小杉本を底本とし、種彦本と堀本で訂正、欠けた29段以降は堀本を使う、といった具合に厳密さを欠く。
English: And when the reprint was included in "Zeami juroku bushu," there were many typographical errors.
Japanese: また翌年『世阿弥十六部集』に収められた際には誤植も多数含まれていた。
English: Kazuma KAWASE used Hanawabon and referred to the reprint in 1908 that has less typographical errors when he wrote "Zeami nijusan bushu."
Japanese: 川瀬一馬は『世阿弥二十三部集』で塙本、また誤植の少ない明治41年の翻刻を参考にしている。
English: After the World War II, in "Sarugaku dangi" and "Zeami and Zenchiku" of the Iwanami bunko version, the attempt to restore the original text was made, referring to each manuscript.
Japanese: 戦後、表章が携わった岩波文庫版『申楽談儀』、『世阿弥禅竹』所収の本文では、各写本を参照し、原文を復原する試みを行っている。
English: The term "Suiseki" is said to come from the fact that when watered, stones in flower bowls become darker in color and even more beautiful.
Japanese: 水石という呼称には、水盤に入れた石に水をふりかけると色が濃くなり、美しく見えるからであるという説がある。