nntsuzu/KFTT huggingface dataset:
English: However, whereas kariginu are tied using a kakae-obi (front-tied kimono sash) made from the same fabric used for the shitagasane (the outer and most important of three kimonos worn under the ho) of the sokutai (old ceremonial court dress), konoshi are tied using an obi (kimono sash) made from exactly the same cloth as the garment.
Japanese: ただし狩衣では束帯の下襲の生地を使った帯を替帯として使用することがあるが、小直衣ではもっぱら共裂の帯を使用する。
English: The name "noshi" refers to a specific type of kariginu that is worn with an eboshi (black-lacquered headgear) but is usually not worn with a kanmuri (elaborate ceremonial headgear).
Japanese: なお、直衣という名はあるものの狩衣の一種なので、烏帽子とともに使用し、冠は原則として使わない。
English: It could be worn at the palace or private residence of a retired emperor, but from the time of its inception (the end of the Heian period) to the end of Edo period it generally wasn't worn within the Imperial Palace.
Japanese: 上皇の御所や私家では使用できるが、発生期（平安末期）から江戸時代末期まで原則として参内には使用しなかった。
English: However, it came to be worn by others during the middle ages, including by sekke (regents and advisers) after being appointed daijin, as well as by ordinary seigake (court nobles ranking below sekke, who became Konoe no Daisho (Major Captain of the Palace Guards) before being made daijin) after being appointed taisho (general), and by daijinke (nobles ranked seigake who became Konoe no Daisho before being made daijinke) after their appointment to that status.
Japanese: しかし中世には上皇のほか、摂家は任大臣以後、一般の清華家（摂家につぐ名門の公家。近衛大将を経て大臣になる）では任大将以後、大臣家（清華家より下の公家で、近衛大将を経ず大臣になる）では任大臣以後に使用した。
English: According to writings dating from the early Muromachi period, retired emperors were able to wear konoshi and kariginu at will, but it was generally the case that those ranking below sekke would no longer wear kariginu after they began wearing konoshi following their appointment to the status of daijin or taisho.
Japanese: 室町時代の初期の文献によると、上皇は小直衣も狩衣も随時着用することができたが、摂家以下はそれぞれ任大臣・任大将後小直衣を着用し始めると、原則として狩衣は着ない例であった。
English: After the Kamakura period, konoshi were considered more informal than kariginu; however, in contrast to kariginu, which were worn with the sashinuki (a type of hakama meant to be worn with blousing over the leg and exposing the foot) fastened in the 'gegukuri' style (hem tied at the ankle) on formal occasions and in the 'shokukuri' style (hem tied at the shin) on informal occasions, konoshi were always worn in the 'shokukuri' style.
Japanese: 鎌倉時代以後の例では、狩衣より略装とみなされ、狩衣着用のときは、改まったときは指貫を下括（足首で裾口を縛る）とし略儀では上括（すねで縛る）としたのに対し、小直衣ではもっぱら上括とするものとされた。
English: Therefore at 'hoihajime' ceremony in which an emperor began wearing kariginu for the first time after he abdicated (an emperor wouldn't wear kariginu or konoshi during his reign), a minister who had to wear konoshi instead of kariginu wouldn't wear konoshi but instead wore noshi with an eboshi.
Japanese: したがって上皇が退位後はじめて狩衣を着用する「布衣始」には（在位中の天皇は狩衣・小直衣等を着ない）狩衣を使用、狩衣のかわりに小直衣を着なければならない大臣は小直衣をあえて着ずに烏帽子直衣を着用している。
English: During the Muromachi period, ministers came to wear white oguchi-bakama (wide-legged hakama) in addition to konoshi and sashinuki hakama.
Japanese: 室町時代には、大臣などは小直衣に指貫のほか白大口袴を着ることもあった。
English: In the early modern period, konoshi were worn by retired emperors and imperial princes, by ministers and generals (just as they did in the middle ages), and there are also examples of it being worn by Jun-daijin (vice ministers, Gido-sanshi ministers).
Japanese: 近世には上皇・親王及び中世同様、大臣や大将が着用し、また准大臣（儀同三司）も使用の例がある。
English: The role of konoshi as a more informal garment than kariginu was forgotten in the early modern period when, since the time of the retired emperors Gosai and Reigen, it came to be worn by retired emperors following abdication, but the sashinuki was also worn in the shokukuri style.
Japanese: 近世には小直衣が狩衣よりも略装であることが忘れられ、後西・霊元上皇以後布衣始で上皇等が使用しており、指貫を下括にすることも行われた。
English: The Tokugawa shogunate family was the first not to wear konoshi, but Ienobu TOKUGAWA wore it on occasions such as Buddhist memorial services and meetings with the Ryukyu emissary.
Japanese: 徳川将軍家でははじめは使用がなかったが、家宣が法事や琉球使引見などに使用した。
English: Yoshimune TOKUGAWA briefly abandoned this practice, but it was revived by Ienari and continued as an established custom.
Japanese: 吉宗は一旦これを廃止したものの、家斉が再び使用をはじめ、以後は恒例化した。
English: Since the time of Ienari, the konoshi owned by the Tokugawa family were very extravagant; however, new ones were procured each year.
Japanese: 家斉以降の徳川家の所用品は極めて豪奢で、なおかつ原則として毎年調進されている。
English: It appears that konoshi were worn within the Imperial Palace during the Meiji Restoration, but soon they came to be used only during festivals.
Japanese: 維新期には参内にも使用されたことがあるようだが、ほどなく装束自体が祭祀に限られることとなり、このことは絶えた。
English: The fabric was the same as that used in casual imperial wear (white koaoi mon aya (a type of arabesque pattern) cloth with bluish purple plain-silk lining in winter and bluish purple or light-blue mie dasuki (a triple design of crossed swords) silk gauze in summer), and was worn with a kanmuri adorned with gold-leaf paper, white short sleeves and red oguchi-bakama.
Japanese: 生地は御引直衣に準じ（冬は白小葵文綾に二藍平絹裏・夏は二藍や縹の三重襷の紗）、御金巾子冠に白小袖、紅大口袴とともに使用した。
English: A konoshi is also worn by the Imperial Family during the rehearsal for the enthronement ceremony (on this occasion it is worn with a tateeboshi (formal headwear with a peak), a sashiko (hakama on which the sashinuki hem reaches the ankles and is not tied) and uhiri (black leather shoes)), and when members of the Imperial Family serve as Shinto priests such as the head priest of Ise-jingu Shrine.
Japanese: また即位礼の習礼で皇族が使用し（このときは立烏帽子・指袴（切袴）・烏皮履を使用）、また神宮祭主など、皇族が神職をつとめる場合に使用例があるという。
English: Because it isn't part of the system laid down by the Association of Shinto Shrines, it is worn in various styles, including with a kanmuri or eboshi.
Japanese: （神社本庁の制度にはない）制外のため、冠にあわせたり、烏帽子に合わせたりなど着用の構成も様々である。
English: One example is the konoshi made from black fabric like a ho and worn with a kanmuri, which is used by the Kuni no Miyatsuko (Provincial Magistrate) of Izumo Province during the kagura (ancient Shinto music and dancing) of the ancient Niiname-sai festival (the Harvest Festival).
Japanese: 一例として、出雲国造が古伝新嘗祭の神楽に使用するのは、袍のような黒い生地の小直衣で、冠とともに使用する。
English: In the beginning of the Heian period, Tachibana no Kachiko (786-850), the Empress of the Emperor Saga, had a strong faith in Buddha and constructed 'Danrin-ji' temple, so she was called 'Danrin Kogo' (the Empress of Danrin).
Japanese: 平安時代初期、嵯峨天皇の皇后であった橘嘉智子（たちばなのかちこ786年-850年）は仏教の信仰が厚く、壇林寺を建立したことから「壇林皇后」と呼ばれた。
English: According to legend, she had stunning beauty, so, there was no end to the number of men who were captivated by her beauty.
Japanese: 伝説によると、壇林皇后はすばらしい美貌の持ち主でもあり、恋慕する人々が後を絶たなかった。
English: She tried to show the teachings of Buddhism by practicing herself that the world is transient, everything is changing and there are no permanent things.
Japanese: そして、この世は無常であり、すべてのものは移り変わって、永遠なるものは一つも無い、という事を自ら示しそうとした。
English: In order to arouse people's faith in Buddha, she killed herself, leaving her will saying, 'My body should not be buried instead it should be abandoned in some crossroad.
Japanese: 皇后は仏心を呼び起こすために、死に臨み、自分の亡骸は埋葬せず、どこかの辻に打ち棄てよと遺言した。
English: The will was executed and her body was abandoned in a crossroad, but it decayed gradually.
Japanese: 遺言は守られ、皇后の遺体は辻に遺棄されたが、日に日に腐りっていった。
English: It became food for dogs and crows, and lay in ugly and horrible appearance, finally having been reduced to bones.
Japanese: やがて、犬やカラスの餌食となって醜く無残な姿で横たわり、白骨となって朽ち果てた。
English: It is said that people kept the teaching, 'transience of the world' in their heart and monks dedicated themselves to ascetic practices, dispelling their obsession about her.
Japanese: 人々は世の無常を心に刻み、僧たちも妄念を捨てて修業に打ち込んだという。
English: Kusouzu' or 'Kusoushi emaki' is a set of nine paintings that shows how the body of Empress Danrin (or others such as Onono Komachi) was decaying.
Japanese: 「九相図」（九相詩絵巻）は壇林皇后（または小野小町等）の遺体が朽ち果てる様を九つの絵で描いたものとされる。
English: Originally, 'Katabiragatsuji' was the place where the gracious but painful last wish of Empress Danrin, who saved people's souls at the sacrifice of her life must have been lying.
Japanese: もともと帷子辻は、こうして自らをなげうって人々の魂を救済しようとした壇林皇后のありがたい遺志の源であったはずである。
English: Later, however, it is said that people became frightened of walking by the place because they could see a vision of a woman's body which was eaten away by dogs and crows.
Japanese: しかし、その後この辻を通りかかると、犬やカラスに食い荒らされる女の死体の幻影が見えると恐れられるようになったと伝えられている。
English: In addition, 'Adashino' located in the west northwest of present-day Katabira no tsuji (Okusaga located in the northwest of Sagano) is known as a place for funeral or a place for an ancient ritual, 'fuso' (funeral rite where the dead body is exposed to the wind until it is eroded completely).
Japanese: また、現在の帷子ノ辻から西北西（嵯峨野の北西、奥嵯峨）に位置する化野（あだしの）は鳥辺野、蓮台野とともに古来の風葬の地、葬送の地として知られる。
English: Matcha ice cream is ice cream flavored with Matcha.
Japanese: 抹茶アイスクリーム（まっちゃアイスクリーム）は、抹茶をフレーバーとするアイスクリームである。
English: Matcha is one of the most popular flavors of ice cream in Japan, and matcha ice cream features its bright green color and its unique aroma and taste.
Japanese: 日本においてポピュラーなアイスクリームのフレーバーの一つで、抹茶の鮮やかな緑色と独特の香味が特徴である。
English: Matcha ice cream is one of the successful examples of the application of Matcha, which was originally only for drink in the tea ceremony, to sweets.
Japanese: 元来茶道などにおける飲料用であった抹茶の製菓への応用の成功例の一つである。
English: Matcha is now one of the popular ice cream flavors such as vanilla and chocolate in Japan.
Japanese: 日本ではバニラ、チョコレートなどと並ぶごく一般的なアイスクリームのフレーバーとなった。
English: Most Japanese ice cream manufacturers deal in matcha ice cream, and foreign ice cream manufacturers who have joined in the Japanese market such as Haagen-Dazs also produce matcha ice cream exclusively for Japan.
Japanese: 日本のアイスクリームメーカーはほとんどが抹茶アイスクリームを販売しており、ハーゲンダッツなど日本に進出した国外のアイスクリームメーカーも日本向けに抹茶アイスクリームを生産している。
English: The bottom of a lid of the ice cream container is coated with silver colored foil in order to prevent catechin contained in the ice cream from being discolored by light.
Japanese: また、カテキンの光による変色を防ぐため容器の蓋の裏側は銀色になっている。
English: Ubagabi' refers to mysterious fiery apparitions handed down from generation to generation in Kawachi no kuni (present-day Osaka Prefecture) and Tanba no kuni (present-day the northern part of Kyoto prefecture).
Japanese: 姥ヶ火、姥火（うばがび）は、河内国（現・大阪府）や丹波国（現・京都府北部）に伝わる怪火。
English: They are described in old books such as "Gazu Hyakki Yako' (supernatural bestiaries, collections of ghosts, spirits, spooks and monsters) of Sekien TORIYAMA, "Shokoku Rijin Dan", a magazine published in the era of the Kanpo, "Kokon Hyaku Monogatari Hyoban", a collection of ghost stories in the Edo period, "Saikaku Shokoku Banashi", miscelleneous stories of Saikaku IHARA, and "Kawachi Kagami Meishoki".
Japanese: 鳥山石燕の妖怪画集『画図百鬼夜行』、寛保時代の雑書『諸国里人談』、江戸時代の怪談本『古今百物語評判』、井原西鶴の雑話『西鶴諸国ばなし』、『河内鑑名所記』などの古書に記述がある。
English: According to "Shokoku Rijin Dan", it appeared as an about 30 centimeters mysterious fiery apparition in Hiraoka Shrine on a rainy night.
Japanese: 『諸国里人談』によれば、雨の夜、河内の枚岡神社に、大きさ約一尺（約30センチメートル）の火の玉として現れたとされる。
English: It is said that all people who saw the fiery apparition flying around were completely stunned.
Japanese: この火の玉が飛び回る光景を目にした者は、1人残らず驚かずにはいられなかったという。
English: When a man living in Kawachi Province walking along the street at night, he was hit in the face by ubagabi coming flying from nowhere.
Japanese: 河内に住むある者が夜道を歩いていたところ、どこからともなく飛んできた姥ヶ火が顔に当たった。
English: Before long, as it flew away, it returned to its former state, a fiery apparition, from the shape of bird.
Japanese: やがて姥ヶ火が飛び去ると、その姿は鳥の形から元の火の玉に戻っていたという。
English: From this, Shigeru MIZUKI, a yokai (apparitions, spirits, ghosts, spooks and monsters) cartoonist, suggests that the real figure of this ubagabi was possibly a bird.
Japanese: このことから妖怪漫画家・水木しげるは、この姥ヶ火の正体は鳥だった可能性を示唆している。
English: The story that the old woman turned to be ubagabi was also described in "Saikaku Shokoku Banashi"(stories in various places written by Saikaku) as a story of 'Miosute aburatsubo' (a story of an old woman who stole oil for a lamp from a shrine because she was miserably poor).
Japanese: この老女が姥ヶ火となった話は、『西鶴諸国ばなし』でも「身を捨て油壷」として記述されている。
English: According to the story, ubagabi flew away for about four kilometers in a flash and people whose shoulders the ubagabi went past died within three years.
Japanese: それによれば、姥ヶ火は一里（約4キロメートル）をあっという間に飛び去ったといい、姥ヶ火が人の肩をかすめて飛び去ると、その人は3年以内に死んでしまったという。
English: There is an oral tradition in Tanba Province (present-day, the northern part of Kyoto Prefecture) that ubagabi appeared in Katsuragawa-river (a part of Yodogawa-river).
Japanese: 丹波国（現・京都府北部）にも、桂川(淀川水系)に姥ヶ火が現れたという伝承がある。
English: According to 'Kokon Hyaku Monogartari Hyoban', there used to be an old woman living near Kameyama Province (present-day, Kameoka City, Kyoto Prefecture) who received money from parents whose children supposed to be adopted through the coordination of the old woman, but she threw these children into Hozugawa-river.
Japanese: 『古今百物語評判』によれば、かつて亀山（現・京都府亀岡市）近くに住む老女が、子供を人に斡旋するといって親から金を受け取り、その子供を保津川に流していた。
English: Since then, a fiery apparition appeared in Hozugawa-river and people called this ubagabi.
Japanese: それ以来、保津川には怪火が現れるようになり、人はこれを姥ヶ火と呼んだという。
English: A face of an old woman floating in a mysterious fiery apparitions with the title of 'ubagabi' is drawn in "Gazu Hyakki Yako'.
Japanese: 『画図百鬼夜行』にも「姥が火」と題し、怪火の中に老女の顔が浮かび上がった姿が描かれている。
English: It has an explanation that it was said to be in Kawachi Province, therefore, it is considered to be a description of an oral tradition of Kawachi.
Japanese: 「河内国にありといふ」と解説が添えられていることから、これは、河内国の伝承を描いたものとされる。
English: Kanoko shibori' is one of the methods of dyeing cloth regularly patterned with spots like the back of the fawn.
Japanese: 鹿の子絞り（かのこしぼり）は絞り染めの一種で、小鹿の背の斑点のように小さな絞りを規則的に並べたもの。
English: Similar dyeing cloths are made in various regions across Asia, but among them, Japanese dyeing cloths are said to be the best in kinds and techniques.
Japanese: 類似のものはアジア各地に見られるが、中でも日本のものが種類・技法ともに最高峰とされる。
English: There are extremely elaborate dyeing cloths such as 'so-shibori', a kind of kimono whose entire cloth are mounted with 'kanoko shibori' on which birds, flowers, and other beautiful sceneries patterns are designed.
Japanese: 振袖の全面に花鳥風月の模様をかたどって鹿の子絞りを施した「総絞り」など非常に手の込んだものがある。
English: So-shibori' is so elaborate that professionals in dyeing cloth spend about three years making it.
Japanese: 「総絞り」は、非常に手が込んでおり、専門の職人が三年近くを費やして作るほどである。
English: Kaichigo' refers to a type of Japanese spirit appearing in "Hyakki Tsurezurebukuro Hyakki Tsurezure Bukuro' (One hundred bags in idleness), collections of ghosts, spirits, spooks and monsters, described by Sekien TORIYAMA.
Japanese: 貝児（かいちご）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: kaioke' is a kind of bucket used to keep clamshells for 'kaiawase' (a Heian period game which involved pairing the two parts of clamshells) or 'kaioi' (an old name of kaiawase game in the Heian period, which involves pairing the two parts of clamshells) played from the Japanese medieval period to the Edo period.
Japanese: 貝桶とは、日本の中世から江戸時代にかけて伝わる遊戯の貝合わせや貝覆いに用いる貝殻の入れ物である。
English: The explanation says, 'I think this kaichigo must be a brother of 'hoko' (a baby doll charm) in my dream'.
Japanese: 解説文には「この貝児は這子の兄弟にやと、おぼつかなく夢心に思ひぬ」とある。
English: Sekien suggested that kaichigo might be a brother of hoko, a baby doll on its hands and knees, used as a lucky charm for little children.
Japanese: 這子とは幼児のお守りに使われた四つんばい姿の幼児の人形のことで、石燕は貝児をその這子の兄弟かとしている。
English: One interpretation is that; as people got tired of playing the game, clamshells that became useless turned to be a spirit.
Japanese: そのうちの一つは、遊びに飽きて使われることのなくなった貝が妖怪化した、というものである。
English: Another one is that; kaichigo was born from an old kaioke which had been handed down from a mother to her daughter as marriage furniture.
Japanese: もしくは、母親から娘へ贈られる歳月を経た嫁入り道具の貝桶から生まれたのものと解釈されている。
English: Since kaioke was considered to be one of the best appropriate marriage furniture and passed on from parents to their daughters, it was common that these kaioke were used for hundreds of years from generation to generation.
Japanese: かつて貝桶は嫁入り道具の一つとして珍重されており、古来の嫁入り道具は親から子へと受け継がれ、数百年も伝わっているものも珍しくなかったことからこの解釈がなされている。
English: However, there is no reliable oral tradition that the kaichigo actually appeared, therefore, another interpretation indicates that it was a imaginary creature Sekien made up.
Japanese: この貝児が出現したという明確な伝承は残されていないため、石燕の創作物とする説もある。
English: Oshouo' refers to a kind of 'Umibozu', a 'yokai' (apparitions, spirits, spooks or monsters) living in the ocean recorded in an encyclopedia, "Wakansansaizue", compiled in the Edo period.
Japanese: 和尚魚（おしょううお）は、江戸時代の百科辞典『和漢三才図会』にある海の妖怪で、海坊主の一種。
English: Their body resembles 'suppon' (Chinese soft-shelled turtle) and their head looks bald as its name suggests 'monk'.
Japanese: 体はスッポンに似ており、頭部は「和尚」の名の通り頭髪がない坊主頭のように見える。
English: When people tried to capture 'oshouo' and to kill it, it desperately begged for its life with tears.
Japanese: これを捕らえて殺そうとすると、和尚魚は手を合わせて涙を流しつつ命乞いをした。
English: Therefore, it is said that it is good for people to release it to the sea, persuading not to curse them because they release it.
Japanese: そのため、「助けてやるが、その代わり二度と祟ってはいけない」と言い聞かせて海へ逃がすと良いという。
English: Also, it is said that another 'Umibozu' called 'Irikame nyudo' which has a turtle-like body and a human-like bald head appears in Wakasa Bay.
Japanese: また、同様にカメの体に坊主頭の人間の頭部を持つ海坊主として入亀入道（いりかめにゅうどう）があり、若狭湾に出現するといわれる。
English: It is considered as the same as 'oshouo' in an essay, "Tankai" written by Soan TSUMURA in the Edo period.
Japanese: 津村淙庵による江戸時代の随筆『譚海』では、これは和尚魚と同じものとされている。
English: Kenji MURAKAMI who researches and studies 'yokai' presumes that people figured sea turtles as 'yokai' such as 'oshouo' and 'Irikame nyudo'.
Japanese: 妖怪探訪家・村上健司はこの和尚魚や入亀入道を、ウミガメを妖怪視したものと推測している。
English: Mitsugoro BANDO the 8th (October 19, 1906 - January 16, 1975) was a kabuki actor.
Japanese: 八代目坂東三津五郎（はちだいめばんどうみつごろう、1906年10月19日-1975年1月16日）は、歌舞伎役者。
English: In 1913, he debuted as Yasosuke BANDO the 3rd in 'Yakko Dako' (a kite with a picture of a man) at Ichimura-za Theater.
Japanese: 1913年（大正2年）、市村座の「奴凧」で三代目坂東八十助を名乗り初舞台。
English: In June of 1928, he succeeded to the professional name of Minosuke BANDO the 6th, playing the role of Ushiwakamaru in "Kurama Genji" (The Genji clan, or the Minamoto clan, in Kurama) at Meiji-za Theater.
Japanese: 1928年（昭和3年）6月、明治座の『鞍馬源氏』の牛若丸で六代目坂東蓑助を襲名。
English: In 1962, he succeeded to the professional name of Mitsugoro BANDO the 8th, in "Kisen" at the Kabuki-za Theater.
Japanese: 1962年（昭和37年）、歌舞伎座の『喜撰』で八代目坂東三津五郎を襲名。
English: In 1973, he was recognized as an individual certified as an Important Intangible Cultural Asset (Living National Treasure).
Japanese: 1973年（昭和48年）、重要無形文化財各個指定者（人間国宝）に認定。
English: He died on January 16, 1975, while he was touring during the new year's performance at the Minami-za Theater in Kyoto.
Japanese: 1975年（昭和50年）1月16日、京都南座の初春興行に出演中に死亡した。好物のトラフグの肝による中毒で急死。
English: He founded the Shingekijo Theater Company in 1932, being influenced not only by kabuki, but also by Kaoru OSANAI, who was one of the founders of the modern theater.
Japanese: 歌舞伎に限らず、近代劇の創始者のひとりである小山内薫の影響を受けて、1932年（昭和7年）には劇団新劇場を設立している。
English: According to his grandson, Mitsugoro BANDO (the 10th), Mitsugoro the 8th was known as a knowledgeable man who loved to read.
Japanese: また、孫の坂東三津五郎(10代目)の回想によると、八代目三津五郎は、読書家・博識家としても知られていた。
English: He was so studious that he went to the National Diet Library every day in order to so some research for his roles.
Japanese: 役作りのために国立国会図書館に連日赴いて資料を探したというほどの勉強家であったという。
English: When his grandson, Mitsugoro the 10th, was a young boy, he followed his grandfather and they ate Sapporo-style ramen noodles together.
Japanese: 他にも、孫の十代目三津五郎がまだ少年だった頃、誘われるままに一緒に札幌ラーメンを食べた。
English: Afterwards, Mitsugoro the 8th, surprised, said 'I never knew that such a delicious food like this existed in the world' (from "Ningen Kokuho" - Living National Treasures weekly magazine, The Asahi Shinbun Company).
Japanese: この後で八代目三津五郎は「世の中にはこのような美味い物があるのか」と驚いたという（出典：週刊『人間国宝』、朝日新聞社）。
English: His attitude toward acting was so stern and resolute that while he was at Toho Theater Company he pushed Yunosuke ITO to the brink of committing suicide.
Japanese: 東宝劇団時代に伊藤雄之助を自殺する寸前にまで追い込むなど厳しい態度で臨んでいる。
English: However, regarding this matter and he said, 'in the end, it benefits him, and I treat him with strictness out of love.'
Japanese: ただし、「結局は本人のためになる、いわば愛の鞭なのだ」とその事について人に漏らしていた。
English: The sudden death of Mitsugoro the 8th was a major incident, and since then, 'puffer fish poisoning' was always associated with the name 'Mitugoro' as an example.
Japanese: 八代目三津五郎の急死は、以後「フグ中毒」といえば「三津五郎」の名が必ず例にあげられるようになったほどの大事件だった。
English: This incident caused a heated debate, over whether Mitsugoro was at fault for being fully aware of the danger yet consuming 4 servings of highly poisonous liver, or if the chef was at fault for making a mistake in cleaning the fish even though he was supposedly a licensed puffer fish chef.
Japanese: この一件は、危険を承知の上で毒性の高い肝を実に四人前も食らげた三津五郎がいけなかったのか、フグ調理師免許を持っているはずの板前の包丁捌きがいけなかったのかで、従前にはなかった大論争を引き起こしたことでも名高い。
English: In this incident, as with others, the fact that the chef unwillingly served the food to Mitsugoro, who kept asking for one dish after another, became an issue.
Japanese: この事件でも、もう一皿もう一皿とねだる三津五郎に、板前がしぶしぶ料理を出したことが問題となった。
English: Back then, it was rare for the chef, who caused puffer fish poisoning, to be found guilty in a criminal trial.
Japanese: 当時はまだフグ中毒事件を起こした調理師に刑事裁判で有罪判決が下ることは稀だった。
English: However, in this case, since the 'unwilling' chef was still considered 'at fault,' the chef was found guilty of involuntary manslaughter due to professional negligence as well as of being in violation of a Kyoto Prefectural Ordinance.
Japanese: しかしこの一件では、「しぶった」板前が「しくじった」ことに変わりはないとして業務上過失致死罪、及び京都府条例違反とされた。
English: Mitsugoro BANDO (the 10th) and actress Kimiko IKEGAMI are his grandchildren, and Shikisa KISHIZAWA the 11th is his nephew.
Japanese: 孫に坂東三津五郎(10代目)と女優の池上季実子、甥に岸澤式佐11代目がいる。
English: In a yokai cartoonist, Shigeru MIZUKI's books, it is described as a yokai which has limbs coming from a big zori (thonged sandal), an eye near a thong, and a mouth below the eye.
Japanese: 妖怪漫画家・水木しげるによる妖怪画では、大きな草履に手足が生え、鼻緒の付近に目玉が一つと、その下に口がある妖怪として描かれている。
English: While it usually comes to sort out some spirits housed in zori abandoned by their owners, it sometimes comes to punish people who carelessly treat zori.
Japanese: 仕事は主に捨てられた履き物に宿った霊の整理だが、履き物を粗末にする人間の家に懲らしめにくることもあるという。
English: In a book titled "Kikimimi soshi' (a collection of folktales) written by Kizen SASAKI who studied folktales, there is a mysterious story; one night, a footwear turned to be a monster and started singing, 'kararin, kororin, kankororin, I have three eyes and two teeth', in a house in which the family were careless about footwear.
Japanese: 民話研究家・佐々木喜善の著書『聴耳草紙』には、履き物を粗末にする者の家で、夜間に履き物が化け物となって「カラリン、コロリン、カンコロリン、まなぐ三つに歯二ん枚」と歌い出したという怪異がある。
English: However, there is a question whether the footwear was zori or not, because the original text of "kikimimi soshi" did not describe the footwear as zori.
Japanese: しかし、原典の『聴耳草紙』では単に「履き物」とのみ述べられており、草履かどうかという疑問が残る。
English: Therefore, while no one is certain that the footwear means zori, some suggest that the footwear was geta (clogs) instead of zori.
Japanese: そのため、この「履き物」が草履かどうかは定かではなく、草履ではなく下駄の話だとする指摘もある。
English: Kenji NURAKAMI, a writer, thinks that the story was made up for a lesson long time ago rather than an oral tradition of a folktale.
Japanese: 作家・村上健司はこれを民間の伝承ではなく、教訓のために作られた昔話とみている。
English: Antique Kimono refers to Kimono made before the beginning of the Showa period and particularly in good condition.
Japanese: アンティーク着物とは昭和初期以前に作られた着物（和服）のことで、特に状態の良いものを指す。
English: Kimono with floral and geometric patterns which is called 'Taisho Roman' or 'Showa Modern' or kimono with Art Deco-conscious design have been reassessed due to the recent boom of retro fashion.
Japanese: 大正ロマンや昭和モダンと呼ばれる花柄や幾何学模様、アール・デコを意識したデザインなどが近年のレトロブームで再評価されている。
English: Antique Kiomono were made when Japanese people wore kimono everyday, so most of them were well sewed, dyed, and devised for putting on easily.
Japanese: アンティーク着物は日本人が日常的に着物を来ていた頃に制作されたものであり、縫製や染めが丁寧であったり、着易いように工夫されていることが多い。