nntsuzu/KFTT huggingface dataset:
English: Sanshamairi which is a custom at various places in western Japan means visits to three Shinto shrines for hatsumode (new year's visit to a shrine) on New Year's Holidays.
Japanese: 西日本の各地の風習としての三社参りは、正月の初詣として、三つの神社を詣でることを指す。
English: The people who live at the places where this custom has been established do sanshamairi as a matter of course regardless of particular special (religious) piety, considering 'hatsumode = sanshamairi.'
Japanese: この風習が根付いた地域の人々は、「初詣＝三社参り」であり、特別な信仰心とは無関係に、当然のこととして三社参りを行う。
English: It is a custom which has firmly taken root especially in parts of Kyushu and Chugoku regions centering around Fukuoka Prefecture.
Japanese: 特に福岡県を中心として九州地方・中国地方の一部では強く根付いた風習である。
English: Visiting multiple shrines on New Year's Holidays sounds a little peculiar to the people who do no have a custom of sanshamairi and some of them get it negatively saying 'It may reduce appreciation,' and 'It may be not so good.'
Japanese: 三社参りの風習のない人々からすると、初詣で複数の神社に参るというのは少し特異なことであり、「ありがたみが減るのではないか」「あまりよくないのではないか」と否定的に捉える場合もあるようである。
English: In some areas we hear rules such as 'You must visit three shrines within one day.' or 'You must make the visits on the first three days in January.', but there are no fixed rules.
Japanese: 地域によって「一日のうちに三社詣でなければならない」「三が日の間に詣でなければならない」といった決まりごとが聞かれるが、これといって定まってはいない。
English: While some question which shrines are meant by 'sansha' (three shrines), in some areas a fixture is clearly determined and, in other areas it is totally unclear and any three shrines you like can be visited.
Japanese: 「三社」は具体的にどの三つの神社を詣でるべきか、という問題があるが、これは定番がはっきりと定まっている地域もあれば、まったく定まっておらず好きな三社を詣でる、という地域もある。
English: However, if there is a famous large shrine, it is natural to include that shrine.
Japanese: しかし、やはり有名な大きな神社が近くにあれば、それを含めるのが普通である。
English: One theory says that originally the Chotei (Imperial Court) conducted hohei (offering a wand with hemp and paper streamers to a Shinto god) at the three shrines, namely Ise Jingu Shrine, Iwashimizu Hachiman-gu Shrine, and Kamo-jinja Shrine, which has spread to the general public as a custom to visit three shrines.
Japanese: 元々朝廷が伊勢神宮、石清水八幡宮、賀茂神社の三社に奉幣し、これが庶民にも三社詣でる風習として広まった、という説。
English: Another says that it is meant to salute to the three shrines, namely ujigami (a guardian god or spirit of a particular place in the Shinto religion) who is an ancestral guardian god, ubusunagami (guardian deity of your birthplace), who is the guardian god of your birthplace and the guardian god of your entire life, and chinju (local Shinto deity) who is the guardian god of the place where you live.
Japanese: もともとは先祖代々の守護神である氏神様、出生地の守護神でありその人の一生の守り神である産土神様、現在住んでいる地域の守護神である鎮守神様の三つの神様に挨拶をする意味で三社詣でていた、という説。
English: They visit three shrines, namely Hinokuma-jingu Shrine/Kunikakasu-jingu Shrine, Kamayama-jinja Shrine, and Itakiso-jinja Shrine located in Wakayama City, Wakayama Prefecture.
Japanese: 和歌山県和歌山市にある日前神宮・國懸神宮（ひのくまじんぐう・くにかかすじんぐう）と竈山神社（かまやまじんじゃ）と伊太祁曽神社（いたきそじんじゃ）の三社を詣でる。
English: Many people have been visiting the three shrines through the ages, and Kishigawa Line of WAKAYAMA ELECTRIC RAILWAY Co., Ltd. is available connecting these shrines.
Japanese: 古くより三社をお参りする人が多く、この三社を結ぶ形で和歌山電鐵貴志川線が走っている。
English: Hinokuma-jingu Shrine, Kunikakasu-jingu Shrine, Kamayama-jinja Shrine were formerly designated as Kanpei-taisha (large-scale state shrines), and Itakiso-jinja Shrine a Kanpei Chusha shrine (middle-scale state shrines).
Japanese: 日前神宮、國懸神宮、竈山神社は旧官幣大社であり、伊太祁曽神社は旧官幣中社である。
English: Shoka (music) is one of the subjects in the former ordinary and higher elementary schools.
Japanese: 唱歌（しょうか）とはかつての尋常小学校、高等小学校の教科の一である。
English: However, it was just an imitation of foreign systems, and a titular subject with a note saying that for the time being this subject would not bet practiced.
Japanese: ただしこれは外国の制度を模倣しただけで「当分之を欠く」という註がされていて有名無実な教科だった。
English: Therefore, the Monbusho (Ministry of Education) established Ongaku Torishirabe-Gakari (later Tokyo Music School) at the instance of Shuji IZAWA.
Japanese: そこで1879年、伊沢修二の主唱で文部省は音楽取調掛（のちの東京音楽学校）を創設した。
English: Many of the songs were foreign songs with Japanese words such as "Chocho", "Hotaru no Hikari", and "Aogebatotoshi".
Japanese: 楽曲の多くは「蝶々」、「蛍の光」、「仰げば尊し」など外国曲に歌詞をつけたものであった。
English: In 1886 it was decided that no textbooks for elementary schools should be adopted without the authorization of the Minister of Education, and for the time being privately-provided textbooks came to be adopted according to this regulation.
Japanese: 1886年文部大臣の検定を経たものでなければ、小学校の教科書として採用することができなくなり、当分の間この規定によって民間から出たものが採用されるようになった。
English: At the beginning there were many foreign songs, but songs composed by Japanese composers like Rentaro TAKI increased in number.
Japanese: はじめのうちは外国曲が多かったが滝廉太郎などの日本人の作曲も増えてきた。
English: On this occasion the "Fundamental Principles of Elementary School Rules" of the Monbusho Order ruled that "the goal of shoka is enabling students to sing plain songs, and at the same time to cultivate a sense of beauty and to develop virtue."
Japanese: このとき文部省令の「小学校教則大綱」によって「唱歌ハ平易ナル歌曲ヲ唱フコトヲ得シメ兼テ美感ヲ養ヒ徳性ノ涵養ニ資スルヲ以テ要旨トス」と目的を定められた。
English: Thereafter, in shoka classes both Monbusho-written textbooks and privately published textbooks that passed the authorization of the Minister of Education were used concurrently.
Japanese: 以後、唱歌については文部省著作の教科書と文部大臣の検定を経た民間の教科書が併用された。
English: Kamigata Bunka is a culture cultivated in Kamigata centered in Osaka and Kyoto.
Japanese: 上方文化（かみがたぶんか）とは、大坂と京都を中心にした上方の地ではぐくまれてきた、
English: It refers to every value of life such as food, clothing, housing, holiness, nature, truth, virtue and beauty.
Japanese: 衣・食・住・聖・性・真・善・美など、人生の諸相にあらわれる価値のすべてを指す。
English: In the Genroku era (1688 – 1704) the economy of Kamigata developed remarkably.
Japanese: 元禄時代（1688年―1704年）には上方の経済がめざましい発展をとげた。
English: The wealthy townspeople became the leader of the new culture and Kamigata Bunka appeared.
Japanese: きわめて裕福な町人層が新しい文化の担い手になり、上方文化が生まれた。
English: Kamigata means 'the direction of Kami (Imperial Palace)' and refers to Kyoto and its surrounding area.
Japanese: 上方とは「上かみ（皇居）のある方角」という意味で、京都およびその付近一帯をさすことば。
English: Since the Edo period began, with spreading culture eastward, refined and developed Kamigata Bunka was also brought to Kanto gradually, and finally in the Kasei era the own culture of Edo flowered.
Japanese: 徳川時代に入ると、文化の東漸にともない次第に関東へも洗練された先進的な上方文化が移入され、化成期になって漸く江戸特有の文化が開花を見るに至った。
English: In the early Edo period, people in Kamigata liked kimono (Japanese traditional clothing) made of good quality materials and also dyed kimono and kanoko shibori (spot tie-dyeing) appeared earlier in Kamigata.
Japanese: 江戸時代前期の上方は地質の立派な着物を好み、染めや鹿子絞りも上方が早かったという。
English: In the Genroku era, Yuzen-zome (fabrics dyed by a method invented by Yuzen MIYAZAKI) became very popular and it was said that there was no place like Kamigata to see luxury clothes.
Japanese: 元禄期には華やかな友禅染めがもてはやされ、衣服の贅沢は上方にとどめをさすといわれる位に豪華になった。
English: While the system of modern society was gradually appearing in the society, Kamigata literature described the diversified urban life and energetic human emotions and the subtleties of feeling.
Japanese: 近世社会の仕組みが徐々にその姿をあらわすなかで、都市の多様な生活を描き、生命力にあふれた人間の心情と機微をとらえようとしたのが上方文学であった。
English: The three people - Saikaku IHARA who wrote Ukiyozoshi (Literally, Books of the Floating World), a joruri writer Monzaemon CHIKAMATSU and a haikai poet Basho MATSUO – have left major marks in it.
Japanese: そこにおおきな足跡を残したのが、浮世草子の井原西鶴、浄瑠璃の近松門左衛門、俳諧の松尾芭蕉の三人である。
English: Gando gaeshi (to pivot one large piece of scenery onto its side so as to reveal a different one) is a stage term used in Kabuki and means one of 'Idokoro-gawari' (place change) methods for scene changes or a device which uses Gando-gaeshi.
Japanese: 強盗返・龕灯返（がんどうがえし）とは歌舞伎で用いる舞台用語で場面転換の方法である「居所変（居所替,いどころがわり）」の一つ、若しくは強盗返を用いた仕掛け。
English: Gando gaeshi is used for changing scenes in a small amount of time without impeding the progress of a performance or a play, and in Kabuki it is sometimes called 'donden gaeshi' after the sound of an odaiko (large drum) which is like 'Donden-Donden'.
Japanese: 強盗返は演技や演劇の進行を妨げることなく短時間で場面を切り換える手段として用いられ、歌舞伎では「どんでんどんでん」と鳴る大太鼓の音からどんでん返しの名で呼ばれることがある。
English: Gando gaeshi' is expressed in several different combinations of Chinese characters and okurigana (kana added to a Chinese character to show its pronounciation).
Japanese: 龕灯返（がんどうがえし）、どんでん返し、がらんどう返し、送り仮名を付けて強盗返し、龕灯返しと表現する場合もある。
English: Many of performing facilities shield the inside from external light in order to allow freedom in producing the theatrical space-time, and in general provide stage lighting by means of internal lighting operation.
Japanese: 演劇を行なう施設では演劇空間の時空を自在に演出するために外部からの光を遮蔽することが多く、舞台上の照明は一般的には内部照明によってのみ操作する。
English: This makes it possible to produce total blackness by turning off the stage lighting for a quick moment, and enables the players to change costumes and to move to the next performing positions, and, by applying a Gando-gaeshi mechanism to the stage setting, scenes such as places and seasons can be changed in the darkness without dropping and raising the curtain in front of the audience over a short amount of time.
Japanese: このため、舞台照明を一瞬だけ消すことで真っ暗闇を実現することが可能となり、この暗転の中で演劇者は衣装を着替えて次の演技の所定の位置に着き、舞台道具は強盗返の仕掛けを用いることで、場所や季節の切り替わり等のシーンの切り替え等を舞台と客席の間の幕を上げ下げをすることなく、観客の目の前で短時間で行なうことが可能となる。
English: Being derived from these, 'donden gaeshi' has become a kind of idiom and is used as an expression for instantaneous reversal, and is applied as 'donden gaeshi de maku-ni-naru' (to finish with a surprise ending) which is a peripeteia coming as a surprise to the audience, as 'donden gaeshi no ketsumatsu' (surprise ending) in novels, as 'donden gaeshi no gyakuten-three-run' (turning defeat into victory with a come-from-behind three-run homer) in a baseball game, and as others.
Japanese: これらのことから転じて、慣用句として用いられる「どんでん返し」は、瞬間的な逆転を指す表現として用いられ、観客の側からは意外性のある「どんでん返しで幕になる」ストーリ展開の状態や、小説では「どんでん返しの結末」、「どんでん返しの逆転スリーラン」等々の用いられ方をする。
English: There are two explanations regarding the origin of gando gaeshi, one of which is that it was invented by Shozo NAMIKI (1730-73), a Kabuki Kyogen (comic drama) writer of Osaka in the mid Edo period, and another of which is that it was invented by Haruzo TAKEDA, a playwright of Kabuki play in 1726.
Japanese: 強盗返は回り舞台を初めとして後の舞台機構に数々の影響を与えた江戸中期の大阪出身の歌舞伎狂言作者の並木正三（なみきしょうぞう,1730–73）が考案したとする説と、宝暦12年(1726)に狂言作者の竹田治蔵（たけだはるぞう）が考案したとする説がある。
English: The origin of the word 'gando gaeshi' comes from the device included in 'gando chochin' which is a portable lighting apparatus.
Japanese: 強盗返の語源は携帯型の照明器具である強盗提灯（がんどうちょうちん）の仕組みに由来する。
English: The device included in the portable lighting apparatus called 'Gando' is made up of nonflammable materials--in general, a cylindrical trapezoid chassis produced by rolling a metal plate such as copper or tin, and a candle holder and a reflecting mirror both of which are placed inside the chassis.
Japanese: 強盗（がんどう）若しくは龕灯（がんどう）と呼ぶ携帯型の照明器具の仕組みは不燃性の材料を用い、一般的には銅版やブリキ板等の金属板を丸めた円筒台形の筐体をもち、筐体の中にはろうそく立てと反射鏡が入っている。
English: The candle holder does not fall in the chassis as it is fixed to one of two freely rotatable rings perpendicular to each other, which is a mechanism similar to that of a gyroscope which can always keep the direction of the axis of spin unchanged, so that the light comes out only in a single direction.
Japanese: 蝋燭立ては筐体内で倒れないように常に自立可能なジャイロスコープと同様の仕組みをもつ自在に回転する留め金で固定されており、光が単一方向にのみ照射する。
English: The side view of gando gaeshi looks like the letter L as the the floor and wall planes are connected into one unit and many of floor fixtures and fittings are bonded to the floor plane which is the bottom of the unit.
Japanese: 強盗返は横から見ると床と壁が一体化したアルファベットの大文字の「Ｌ」の形をしており、床面に置かれた什器備品等の多くは底面である床に固定されている。
English: In a Kabuki play, by tipping back the unified floor and wall planes togrther with fixtures, the hidden back of the floor plane now appears as a wall plane in front of the theater audience.
Japanese: 歌舞伎では一体化した床面と壁面を備品とともに後ろ側に倒すことで、今までは床に見えていた底面部分の裏側に隠れていた壁面が観客の目の前に表われる。
English: At this moment in the Kabuki play, the large drum mentioned above beats 'Donden-donden.'
Japanese: この時、歌舞伎では前述の大太鼓の音が「どんでんどんでん」と鳴り響く。
English: As stage settings for Kabuki plays became larger, mawari-butai (revolving stages) which rotate horizontally with large props and actors on them appeared in Horeki period (1751-1763).
Japanese: 歌舞伎では更に舞台道具が大掛かりになると、宝暦年間に大道具や演劇者を載せたまま舞台そのものが水平回転する廻り舞台が生まれた。
English: Applying a similar method for changing scenes instantaneously, the revolving stage is a device for changing a scene to a different one drawn on the back of a setting to be hidden from the audience till its use, by providing rollers under its base and by rotating 180 degrees horizontally the set of stage articles whose weight can be lifted by human power.
Japanese: これは、即座に背景を切り替える同様の方法として台座部分にローラを設けたり、人力で持ち上げられる程度の重量の大道具一式を水平に180度回転させることでこれまで観客に見えなかった大道具の裏面に描かれている異なる背景を見せて場面転換を図る装置である。
English: The scene change by rotatinal move is called 'bonmawashi' (tray rotation) when to distingush from 'gando gaeshi.'
Japanese: 回転移動による場面転換を強盗返と区別する場合には盆廻し（ぼんまわし）と呼ぶ。
English: It is called itaishi (stone tablet) sotoba (a tall, narrow wooden tablet set up behind a grave for the repose of the dead) or itaishi toba and especially Musashi-style itahi which is typically imaged is called ao-ishi (a generic name for a blue green stone of chlorite schist much used in gardens) toba as it is made by processing pieces of chrolite schist produced in Chichibu.
Japanese: 板石卒塔婆、板石塔婆と呼ばれ、特に典型的なものとしてイメージされる武蔵型板碑は、秩父産の緑泥片岩を加工して造られるため、青石塔婆とも呼ばれる。
English: The basic structure is a block of stone processed to a shape of a vertically long tablet on which Bonji (Siddham script) = shuji (Sanskrit seed-syllable in Esoteric Buddhism), the name of a person commemorated, the date of commemoration, the items of commemoration are inscribed.
Japanese: 基本構造は、板状に加工した石材に梵字＝種子（しゅじ）や被供養者名、供養年月日、供養内容を刻んだものである。
English: The areas of their distribution are limited to the Honganchi (birthplace of clan) of warriors of Kamakura Bakufu and their territories, and are tightly related to the belief of warriors of Kamakura Bakufu.
Japanese: 分布地域も、鎌倉武士の本貫地とその所領に限られ、鎌倉武士の信仰に強く関連すると考えられている。
English: By the way, Musashi-style means something made of bluish stone material called chrolite schist produced in Chichibu/Nagatoro area, but as similar stone material is produced in and around Awa, itahi made of chrolite schist distributed in the Kanto Plain are classified as Musashi-style and those distributed in and around Shikoku are classified as Awa-style.
Japanese: ちなみに武蔵型とは秩父・長瀞地域から産出される緑泥片岩という青みがかった石材で造られたものをさすが、阿波周辺域からも同様の石材が産出するため、主に関東平野に流通する緑泥片岩製の板碑を武蔵型、四国近辺に流通していたものを阿波型と分類している。
English: Shimousa-style means itahi made of black mica stone produced mainly at Mt. Tsukuba in Ibaraki prefecture.
Japanese: また下総型とは主に茨城県にある筑波山から産出される黒雲母片岩製の板碑をさしている。
English: They vary in their shapes and in stone material from area to area, and from era to era, and so they have been good objects of research by local historians since before World War II.
Japanese: 地域、時代により形態や石材にバリエーションがあり、戦前から郷土史家たちの格好の研究材料であった。
English: In the Sengoku period they rapidly died out, and some of existing itahi were disposed or turned into lids of irrigation ditches, etc.
Japanese: 戦国時代(日本)以降になると、急激に廃れ、既存の板碑も廃棄されたり、用水路の蓋などに転用されたものもある。
English: Although it has been said to be a work of Zeami, due to the fact that Zeami himself has written that a part of the play was 'the tune of Konparu ("Sarugaku Dangi," Zeami's talk on his own art),' there is speculation that a Noh piece with this title already existed at his time.
Japanese: 旧来世阿弥作ともいわれてきたが、世阿弥自身がこの能の一部について「金春の節である（申楽談儀）」と書いているところから、世阿弥の時代にはすでにこの主題の能があったことが推測される。
English: It is a play dramatically written based on the history of Shido-ji Temple in Sanuki Province and the legend of the Fujiwara clan.
Japanese: 讃岐国志度寺の縁起、藤原氏にまつわる伝説を素材に、ドラマチックに作り上げられた作品。
English: Materials for this play include the story of the birth of FUJIWARA no Fusasaki, a legend that a lady from Fujiwara clan became the empress of Tang (China), the folklore about a diver retrieving a stolen treasure from the bottom of the sea and Fusasaki's donation to Shido-ji Temple.
Japanese: 藤原房前の出生譚や、藤原氏の女性が唐の后になったという伝説、海底に奪われた宝物をとりかえす海人の伝承、房前が志度寺に寄進したことなどを題材としている。
English: It is one of the more popular Noh plays with the main plot about a mother who wishes for her son's success even at the cost of her own life, with added religious elements such as Nyonin Jobutsu (attainment of enlightenment by a woman) through Hokke-kyo Sutra (the Lotus Sutra).
Japanese: わが命を犠牲にしてまで子の栄達を願う母の行動を主筋に、法華経による女人成仏などの宗教性も加味した人気のある能のひとつである。
English: Tama no dan' (column of Tama), the climax of this play, is filled with realism and is frequently performed as an independent shimai (Noh dance in plain costume).
Japanese: この曲のクライマックス部分「玉ノ段」は、写実性にとみ、独立した仕舞としてもよく上演される。
English: In terms of considering how Noh relates to other performing arts Ama is a valuable play, due to the commonalities that can be seen with the Kowaka-mai (story-telling with a simple dance) "Taishokukan" and the shi-sho (context of a poem or a book with musical components) at the end which is seen in historical stories.
Japanese: 幸若舞『大職冠』とも共通性がみられ、結末に縁起物語にみられるような詞章があるなど、能と他の芸能の関連性を考えるうえでも、貴重な作である。
English: There are quite a few other works in other genres (such as the jiuta [traditional songs with shamisen accompaniment] "Tamatori ama" [Pearl Fisherman]) based on this play.
Japanese: またこの曲をモチーフとした他分野の作品（地歌『珠取海人』など）も少なくない。
English: The first part tells the story of Fusasaki no Otodo (FUJIWARA no Fusasaki) who, on hearing that his mother he had lost during childhood had come from Shidotsu, Sanuki Province, visits there to perform religious rites for the repose of her departed soul; there, he meets a female diver from the area who tells him that she is his mother and how she had retrieved 'Menko huhai no tama' (an oval treasure that shows the frontal figure from any angle) which was stolen by the Palace of the Dragon King; this is followed by the aikyogen (comic interlude) where an inhabitant of Shidotsu recounts the story that was told in the first part; and in the latter part Fusasaki's mother appears as Ryunyo (a form that a woman must turn into in order to rest in peace) and thanks Fusasaki for the memorial service featuring the Myohorenge-kyo Sutra (the Lotus Sutra) he is performing in honor of her.
Japanese: 房前大臣（藤原房前）が、幼少のころに亡くした母は讃岐国志度津の人と聞かされ、菩提を弔うためその地をたずねると、その浦の海女が登場、自分が房前の母であり、龍宮に奪われた「面向不背の珠」をとりかえした経緯を物語る前段、その土地の住人が前段のストーリーを改めて語る間狂言部分、房前が妙法蓮華経で母の追善供養をしていると、龍女に姿をかえた母があらわれ供養を謝す後段からなる。
English: His pilgrim with his retainers (Waki and Wakizure [companion appearing with the supporting actor]) through Nara, Settsu Province, Awaji Province and Naruto are recited, and they reach Shido no ura (Shido Bay).
Japanese: 従者（ワキ、ワキヅレ）による奈良、摂津国、淡路国、鳴門の道行きが謡われ、志度の浦に到着。
English: When the retainer says he wants to know the history of this land, a female diver appears.
Japanese: 従者がこの地のいわれを聞きたいというと、そこにひとりの海女が登場する。
English: When the retainer says 'Could you please pick seaweed from the bottom of the sea?" she replies, 'If you are hungry, please have the seaweed I have in my hands.'
Japanese: 従者が彼女に「海底の藻をとってきてください」と頼むと海女は「空腹でいらっしゃるなら、ここに持っている藻をおあがりください」と応える。
English: The retainer asks her to tell the story of that occasion, and she begins to tell the following story.
Japanese: その折のことを語ってほしいという従者の頼みに海女は次のように語り始める。
English: When the younger sister of the present Otodo Tankaiko (FUJIWARA no Fuhito) was to become the empress of Tang, three treasures were sent to Koufuku-ji Temple from Emperor Gao Zong (Tang).
Japanese: 「今の大臣淡海公（藤原不比等）の妹君が唐の妃になられるにあたって、唐の高宗(唐)皇帝から興福寺に三つの宝物が贈られました。
English: Among them, the "Menko huhai no tama (a strange oval treasure that always reflects the frontal image of Shaka from every angle)" was stolen in this land by the Palace of the Dragon King.
Japanese: そのうちのひとつ『面向不背の珠（釈迦の像が必ず正面にみえる不思議な宝珠）』をこの地で竜宮にとられてしまいました。
English: Otodo disguised himself and came to this land to retrieve the treasure, and he married an amaotome (a female diver).
Japanese: 大臣はその珠を奪い返すため身をやつしてこの地に来られ、海人乙女と契りを結ばれました。
English: Moves and steps according to Noh-jiutai (Noh chorus) begin with the words, 'Given a promise that her son would be made a successor if the treasure was retrieved, she jumped into the ocean without a care for her own life.'
Japanese: 「もし珠をとってきたら、この子を世継ぎとしてくださるという約束に、海女は命を惜しまず海中に飛び入ったのです」という語りから能地謡にあわせての所作になる。
English: There was but one sky, she weaved through clouds of wavese and smoke of waves, deeper and deeper into the sea,' until finally reaching the Palace of the Dragon King, where the oval treasure was mounted on top of a 90-meter-tall pagoda.
Japanese: 「空はひとつに雲の波、煙の波を凌ぎつつ、海漫々と分け入りて」やっと竜宮につくと、三十丈の宝塔の頂にその珠がまつられていた。
English: When she jumped into the palace with a dagger in one hand and dedicating prayers to Kannon Bosatsu (Kannon Buddhisattva) in Shido to please help her, the dragons retreated in an instant.
Japanese: 志度の観音菩薩たすけたまえと、剣を手に竜宮に飛び入ると、竜たちはぱっと退いた。
English: Since the dead are abhorred in the palace, the diver cut the bottom of her breast, hid the treasure, and collapsed at the bottom of the sea; not one being came near.
Japanese: 竜宮では死人を忌むということなので、海女は自分の乳の下を掻き切って、珠を押し込め海底に倒れると、近づくものもない。
English: She tugged hard at her lifeline and those above the sea pulled up the rope, and the diver floated to the surface.
Japanese: そのとき力をこめて命綱をひけば、海上の人々によって命綱がひきあげられ、海女は海上に浮かび上がった。
English: Otodo grieved and mourned on seeing the wounded and breathless diver, but with her dying words, 'look around my breast,' he found the Menko huhai no tama in her wound.
Japanese: 大臣は傷つき息もたえだえになった海女をみて嘆き悲しむが、海女の「わが乳のあたりを御覧ぜ」との末期の言葉に傷跡をみると面向不背の珠がある。
English: Please read this letter and perform religious rites to repose my departed soul,' and hands him a letter and disappears into the morning sea.
Japanese: この手紙を御覧になってわが菩提を弔ってください」と、房前に手紙をわたし朝の海に消えていった。
English: When the retainer says to an inhabitant of the land who was passing by, 'Tell us if you know the story of the diver who retrieved an orb from the sea,' the inhabitant answers, 'The daughter of Mitsunori, the Taishokkan (Holder of the Grand Crown) from Nara who was Lord Tankai's younger sister, was very beautiful and became the empress of Emperor Gojong.
Japanese: そこへ通りかかったこの土地の住人に、従者が「海中より珠をとってきた海人のことを知っていたら語ってくれ」というと、「奈良の大織冠の娘で淡海公の妹にあたる光伯女は、大変な美人で高宗皇帝の后となられました。
English: The three treasures were sent from Tang, since Koufuku-ji Temple of Nara was Mitsunori's daughter's Uji-dera Temple (temple built for praying clan's glory).
Japanese: 奈良の興福寺は光伯女の氏寺なので、三種の宝物を唐から渡されたのです。
English: Among them, the inhabitants of the Palace of the Dragon King wanted to steal Menko huhai no tama, but they were unable to do so because the boatmen were very capable.
Japanese: そのひとつ、面向不背の珠を竜宮の住人は奪い取りたく思ったのですが、船頭が優秀で取ることができません。
English: Tankai no Otodo was disappointed, and came to this land in disguise; he married an amaotome and had a son, and through many promises, he was able to retrieve the orb owing to the diver.
Japanese: 淡海大臣は残念に思って、身をやつしてこの浦に来られ、海人乙女と契り一子をもうけ、色々のお約束をされて、海女のおかげでその珠を取りかえすことができました。
English: Also, the baby born on this occasion was referred to as Fusasaki no Otodo from the name of this bay,' and the inhabitant says, 'Why do you ask such a thing?'
Japanese: またその時生まれたお子はこの浦の名から房前の大臣といわれるそうです」と語り「しかし、どうしてそうようなことをお尋ねになるのですか」と問う。
English: He is going to hold Buddhist memorial service known as kangenko (pipes, strings, and preaching) to mourn for his mother, so please gather those who perform kangen (gagaku piece without dance).
Japanese: 御母のお弔いのためにこれから管弦講という法要を催されるので、管弦の役者は集まるように言ってください。
English: When the Jiutai sings 'Perform good deeds by reading the Myohorenge-kyo Sutra and through various Buddhist memorial services,' the diver from the previous half appears as ryunyo.
Japanese: 地謡によって「妙法蓮華経の読誦やさまざまな法要をして善をなそう」と謡われると、龍女に姿をかえた先ほどの海女が登場する。
English: She starts to dance along the sutra saying, 'A gracious mourning, please continue reading the Lotus sutra.'
Japanese: 「ありがたいお弔い、なおなお法華経をお誦みください」といって、経にあわせて舞いはじめる。
English: Soon it becomes 'mai-goto' (instrumental dance) and she gives thanks for her jobutsu (die peacefully) through 'the merit of the sutra,' and with the dance to the Jiutai singing, 'Ryunyo has died peacefully.
Japanese: やがて「舞事」になり、「今この経の功徳にて」成仏した礼をのべ、地謡の「龍女成仏、さてこそ讃州志度寺と号し、毎年八講、朝暮の勤行、仏法繁昌の霊地となるも、この孝養と承る（龍女は成仏しました。