nntsuzu/KFTT huggingface dataset:
English: If 'A Serpent's Lust' was written in 1767, a year before the preface was written, and one takes into consideration the year 1767, which had a leap ninth month, these dates in the work become coherent.
Japanese: もし、序に書かれた年の前年の明和4年に「蛇性の婬」が書かれたとする場合、序の年の前年、閏9月のあった明和4年を念頭におくと、うまく計算が合う。
English: This theory doesn't make it clear what the author was doing with "Ugetsu Monogatari" during the eight years after completing the manuscript, but in 1771 and 1772 Chobei NOMURA and Hanbei UMEMURA respectively issued announcements of the forthcoming title of "Ugetsu Monogatari."
Japanese: この説の場合、脱稿からの8年間、『雨月物語』をめぐって何がおこなわれていたのかは分からないが、明和8年と安永元年には、それぞれ野村長兵衛と梅村判兵衛という別々の版元から『雨月物語』の近刊予告がでていた。
English: After Akinari lost his family business (Shimaya) in a fire in 1771, he began to study medicine under Teisho TSUGA and opened a hospital.
Japanese: また、明和8年には、秋成の家業の嶋屋が火事で焼けたことなどを契機に都賀庭鐘から医学を学んだり、医院を開業したりしていた。
English: Takeo BANDO admitted that a theory advocated by TAKADA was commonly accepted, but both theories had no conclusive evidences and he pointed out that it would be difficult to deny the possibility of revising the work for the eight years until the book was published.
Japanese: 坂東健雄は、高田説が通説であるとしながらも、どちらの説も決め手に欠けるとし、やはり、出版にいたる8年間に推敲が行われた可能性は否定できないことを指摘した。
English: When Akinari published his first ukiyo zoshi, "Shodo kikimimi sekenzaru" in 1766, Teisho TSUGA brought out "Shigeshige Yawa."
Japanese: 秋成が、処女作の浮世草子『諸道聴耳世間猿』を刊行した明和3年、都賀庭鐘の『繁野話』が世に出た。
English: This work and his previous work, "Hanabusa Soshi," were different from the ukiyo zoshi that had been in fashion until then, and should be called the first yomihon whose original texts (hakuwa shosetsu) were evident, emphasizing a Chinese flavor.
Japanese: この作品とその前作の『英草子』は、読本の祖というべきもので、それまで流行していた浮世草子とはちがって、原典（白話小説）のはっきりと分かる、中国趣味を前面にだしたものだった。
English: It was around the time that the freshness of ukiyo zoshi, whose pioneer was Saikaku IHARA, had faded and its popularity was declining.
Japanese: ときは、井原西鶴から始まった浮世草子の新鮮味がなくなり、おちこみがでてきたころ。
English: Akinari stopped writing the ukiyo zoshi that was scheduled to be published, and started writing "Ugetsu Monogatari" under the influence of the works by Teisho.
Japanese: 秋成はまだ執筆、刊行予定のあった浮世草子を捨て、庭鐘の作品をうけて『雨月物語』を書きはじめたのだった。
English: The period in which "Ugetsu Monogatari" was written is not clear, as mentioned above, but Akinari studied medicine either before or after it was written.
Japanese: 『雨月物語』執筆の時期は上記のようにはっきりしないが、しかしその前後に、秋成は、庭鐘から医学を学んでいる。
English: It is not certain how much he learned other than medicine (such as hakuwa shosetsu) from Teisho, but "Ugetsu Monogatari" itself would be evidence of the influence.
Japanese: このとき、どれだけ庭鐘から医学以外のこと（例えば白話小説のことなど）を直接学んだかはよく分かっていないが、その影響をうけていることは『雨月物語』自体が証拠となろう。
English: For example, it consists of five volumes and has nine stories; each of the eight short-length stories has an illustration covering two facing pages, but one medium-length story includes two illustrations ('A Serpent's Lust'), which is the same as the yomihon work by Teisho.
Japanese: 具体的にいえば、まず体裁が五巻九篇、見開きの挿絵一枚の短篇が八つ、挿絵二枚の中篇（「蛇性の婬」）がひとつであるところは、まったく庭鐘の読本作品と同じである。
English: Regarding the difference in style, the expression of titles is different; Teisho put a long title such as 'The story of Emperor Godaigo, who rejected the fujifusa's advice three times' as the first story in "Hanabusa Soshi," and 'The story of talking about souls and the scene of clouds that promise long-lasting relationships' as the first story in "Shigeshige Yawa," while "Ugetsu Monogatari" has short titles like 'Shiramine,' which is the first story, and 'The Chrysanthemum Vow,' which is the second.
Japanese: 体裁で違うところといえば、題名のつけかたで、庭鐘が『英草子』第一篇「後醍醐帝三たび藤房の諫を折くこと話」とか『繁野話』第一篇「雲魂雲情を語つて久しきを誓ふ話」とか長くつけるのに対し、『雨月物語』の方は第一篇「白峯」や第二篇「菊花の約」のようにすっきりとした題がついている。
English: As for the contents, it takes the form of yomihon without focusing on each scene but on the development of the plot and the human nature of the character; and it targets intellectuals, incorporating his ideas, view of history and arguments in the work.
Japanese: 内容面で言うと、読本の形式をとり、場面場面ではなく話の運びや、登場人物の人間性に重点をおいたものにしたこと、読者の想定を知識層におき、思想や歴史観、作中での議論を盛り込んだことなどがあげられる。
English: An influence of KAMO no Mabuchi, a classical Japanese scholar, seems to have lay behind the author, Akinari, of "Ugetsu Monogatari," especially in the character of Saigyo in 'Shiramine.'
Japanese: 「白峯」での西行など、『雨月物語』を書く秋成の思想の背景に、国学者賀茂真淵からの影響が見られる。
English: Akinari had been studying alone about Keichu until then, and he became a disciple of Miki KATO (his family name is also known as FUJIWARA or KAWAZU, and first name Umaki), a classical Japanese scholar, before or after writing "Ugetsu Monogatari."
Japanese: それまでも独学で契沖のことを学んでいた秋成は、やはり『雨月物語』執筆の前後に、国学者加藤美樹（姓は藤原、河津、名は宇万伎とも）に入門している。
English: Akinari had been an intelligent 'Noramono' (means a lazybones in Kansai dialect) until then, but after he was taught by Miki, his thought was deepened and knowledge of the classics was organized systematically, which meant a lot to him.
Japanese: それまでも、知的な「浮浪子」（なまけ者などの意味の上方語）であった秋成だが、美樹からのてほどきからは、思想的深化、古典学の体系的だった智識の整理、という重大な影響をうけた。
English: It can be said that Teisho's works were written in Wakan Konkobun (writing in literary Japanese and Chinese words), but that they had a stronger Chinese flavor.
Japanese: 庭鐘の作品は和漢混淆文でできているといってもよいが、漢文調の強いものであった。
English: However, "Ugestu Monogatari" transformed the style of the original text, hakuwa shosetsu, into a unique style that was a mixture of Chinese and Japanese.
Japanese: 一方、『雨月物語』を見ると、うまく原典の白話小説の調子を翻訳し、漢文調と和文調の織り交ざった独自な文体となっている。
English: The preface written by Akinari says, 'I edited this at night with a hazy moon after the rain, to hand it to a publisher. That's why this is titled Ugetsu Monogatari.'
Japanese: 秋成自身の序文には、書き下すと、「雨は霽れ月がは朦朧の夜、窓下に編成して、以て梓氏に畀ふ。題して雨月物語と云ふ」とあり、雨がやんで月がおぼろに見える夜に編成したため、ということが書いてある。
English: Also, it should be noted that descriptions of rain and moon are used a lot as omens for unnatural phenomenon in the story.
Japanese: 物語中、怪異が現れる場面の前触れとして、雨や月のある情景が積極的に用いられていることにも、注意したい。
English: And some people considered that this is just an official reason and the author's self-concealment, constructing another theory.
Japanese: また、これを表向きの理由、作者の韜晦であるとして、別の説もだされている。
English: Takeshi YAMAGUCHI advocated a theory that it was based on the Yokyoku "Rain and Moon" in which Saigyo appears as a waki, but Hiroaki NAGASHIMA denied it because it had little to do with the contents of 'Shiramine.'
Japanese: 山口剛は、西行がワキとして登場する謡曲の『雨月』がもとになっている、という説を提唱したが、これには、長島弘明の、「白峯」との内容面での関係性が薄い、として否定されている。
English: Also, Tomoki SHIGE claimed that the title came from a passage in "Sento-shinwa" and "Botanto-ki"; 'The night which the sky turns dark to rain, the moon which goes down to dawn,' which sometimes appears in "Ugetsu Monogatari" as well.
Japanese: また、重友毅は、『雨月物語』にもところどころで採用されている『剪灯新話』「牡丹灯記」にある一節「天陰リ雨湿（うるほ）スノ夜、月落チ参（さん）横タハルノ晨（あした）」から来てるのではないか、と唱えている。
English: Mamoru TAKADA considered that Akinari would have been familiar with both of them, so it was not necessary to think one of them was correct.
Japanese: 高田衛は、秋成はこの両者に親しんでいただろうことから、このどちらか一方と考えなくてもよい、という考えを示している。
English: It suggests that Akinari UEDA was enthusiastic about writing "Tales of Moonlight and Rain," and offers insight about how it was written.
Japanese: ここでは、上田秋成の『雨月物語』にかける意気込み、創作経緯が書かれている。
English: And he wrote that an author who wrote "Ugetsu Monogatari," which was imperfect and absurd, wouldn't have such a terrible experience, pretending to be humble.
Japanese: そして、どう見ても杜撰な、荒唐無稽な作品である『雨月物語』を書いた自分は、そんなひどい目にあうわけがない、と謙遜している、ように見える。
English: However, he can't have compared his works with "The Tale of Genji" and "Water Margin," which were considered masterpieces in those days, if he really thought his stories were terrible.
Japanese: しかし、考えてみれば、そもそもくだらない作品を書いた、と自分で思っているなら、当時でもすばらしい作品であると考えられていた『源氏物語』や『水滸伝』と自分の作品を比べるわけはあるまい。
English: Also, an attempt is being carried out to find Akinari's true intention by focusing on the signature at the end, 'Senshi Kijin (strange man cutting branches) wrote.'
Japanese: また、末尾の「剪枝畸人書」という署名に注目して、ここから秋成の真意を汲取ろう、という試みもなされている。
English: In this 'Senshi Kijin (剪枝畸人),' '枝' means 'arms and legs' and also indicates 'fingers,' so the signature is Akinari's mocking the middle finger of right hand and index finger of the left hand, which became disabled when he was a child.
Japanese: この「剪枝畸人」の「枝」は「肢」、さらには「指」に通じ、幼いときに秋成が、右手中指、左手人差し指が不具になったことを戯れにした署名である。
English: It should be noted that he made this signature in spite of writing that he was sure he wouldn't have such a terrible experience.
Japanese: ここで、前に自分はひどい目に合わないはずだ、と言っておきながらこういう署名をするところに、注目する必要がある。
English: Also, Mitsutoshi NAKANO pointed out that this was derived from "Soshi (a book)."
Japanese: また、中野三敏からは、これは『荘子(書物)』に由来するものではないか、という指摘もなされている。
English: Jinkansei, of "Soshi," says of a tree that bears a useful fruit, 'limbs are broken, twigs are stored,' and that a useless tree 'is never clipped.'
Japanese: 『荘子』の人間世篇に、有用な実をつける木は「大枝ハ折ラレ、小枝ハ泄（た）メラル」、無用な木は「ハタ、アニ翦（き、剪）ラルルコト有ランヤ」とある。
English: In short, 'Senshi (剪枝)' might mean that he thought his fingers (枝) were broken (剪) because he was a useful man.
Japanese: つまり、「剪枝」とは、自分が役に立つ人間であったがゆえに、指（枝）が折られて（剪）しまったのだ、ということを意味しているのではないか。
English: Therefore, 'Senshi Kijin' can be an arrogant claim that unlike Murasaki Shikibu and Lo Kuan-chung, who had undergone terrible experiences after they wrote the books, the author of "Ugetsu Monogatari" was punished by birth and was equivalent to Heaven.
Japanese: つまり、「剪枝畸人」とは、紫式部や羅貫中のような、物したあとにひどい目にあったのとは違って、『雨月物語』を書いた自分は、生まれながらに罰せられている、天にも等しき存在なのだ、という傲慢なほどのすさまじい主張にも読取れるのだ。
English: It would suggest how much Akinari was self-confident about "Ugetsu Monogatari."
Japanese: いかに秋成の『雨月物語』にかける自負心が大きかったことか、察することができるだろう。
English: This part is based on the two books that were attributed to Saigyo at that time: "Senjusho" (Selected Stories) Book 1, 'About Shiramine, Shinin's Mausoleum,' and Book 2, 'About Eigen zojo of Kerinin.'
Japanese: この部分は、当時西行作と信じられていた『撰集抄』巻一「新院御墓白峰之事」と巻二「花林院永僧正之事」が下敷きになっている。
English: Saigyo visits Shiramine to pray for the repose of the soul of his old master Emperor Sutoku, chants Buddhist sutras and makes a poem.
Japanese: 西行は旧主である崇徳天皇の菩提を弔おうと白峯を訪れ、読経し、歌を詠む。
English: An ode in reply says, 'I drifted with the waves to this far Matsuyama. I could not paddle back to Kyo to be an ogre under a foreign sky.'
Japanese: その声は、「松山の浪にながれてこし船のやがてむなしくなりにけるかな」と返歌する。
English: Saigyo argues from the viewpoint of the rule of right, citing examples of Emperor Nintoku appearing in 'Nintokugi' of "Nihon Shoki" (Chronicles of Japan) and Iratsuko UJINOWAKI, who abdicated the Imperial Throne, while In argues from the Ekisei revolution (an old Chinese political thought).
Japanese: 西行は『日本書紀』「仁徳紀」にある仁徳天皇、菟道稚郎子の皇位相譲の話を例に出して王道の観点から、院は易姓革命から、それぞれ論をぶつけあう。
English: Then, Saigyo points out that "The Book of Mencius," which advocated Ekisei Revolution, wasn't introduced to Japan, and cites a passage from 'Shoga (aristocracy)' in "Sikyo" (Chinese Poetry Book), Brothers conflict in house, but prevent downgrading outward,' succeeding in getting the truth out of In that it was from personal spite.
Japanese: 次に、西行は、易姓革命を唱えた『孟子』が日本に伝わらなかったこと、『詩経』「小雅」の一篇「兄弟牆（うち）に鬩（せめ）ぐとも外の侮りを禦（ふせ）げよ」という一節を説き、ついに院の、私怨がゆえである、との本音を引き出すことに成功する。
English: In says that after the incident of 'sinking the Buddhist scriptures,' he felt very bitter against the people who had become enemies in the Hogen no Ran War (the turmoil of the Hogen War) and pulled the strings to bring on the Heiji no Ran War (the turmoil of the Heiji War).
Japanese: 院は、「経沈め」の一件の後、保元の乱で敵方にまわったものたちを深く恨み、平治の乱がおこるように、操ったのだ、という。
English: And a strong wind blows, which reveals the uncanny appearance of In for the first time.
Japanese: そして、大風がおき、ここではじめて院の、異形のすがたがあらわになる。
English: Then In's expression seems to become calm, and his body fades away.
Japanese: すると、院の顔がおだやかになったように見え、段々とすがたがうすくなり、消えていった。
English: In's prediction comes true, and his grave is arranged and he comes to be revered as a spirit.
Japanese: 世の中は、院の予言通りにすすんでいき、院の墓は整えられ、御霊として崇め奉られるようになった。
English: The whole work of 'The Chrysanthemum Vow' was adapted from Hakuwa Shosetsu 'Fan Juqing jishu sisheng jiao (Fan Chu-ch'ing's Eternal Friendship)' in "Gujin xiaoshuo (Old and New Stories)," and the background is based on "Intoku Taiheiki (records of great peace)" by Masanori KAGAWA.
Japanese: 「菊花の約」は、全体を白話小説の『古今小説』「范巨卿鷄黍死生交」から、時代背景を香川正矩『陰徳太平記』によっている。
English: The time is set in the Sengoku period, and the place is Kako, Harima Province (the present-day Kakogawa City, Hyogo Prefecture).
Japanese: 時は戦国時代(日本)、舞台は播磨国加古（今の兵庫県加古川市）である。
English: This samurai is Soemon AKANA, a scholar of military science, and he tells the story that he was on his way home from Omi Province, where Ujitsuna SASAKI lives, because he had heard that his old master Kamonnosuke ENYA, who was in his hometown Izumo Province, had been defeated by Tsunehisa AMAKO.
Japanese: この武士は、赤穴宗右衛門という軍学者で、佐々木氏綱のいる近江国から、故郷出雲国での主、塩冶掃部介が尼子経久に討たれたことを聞いて、急ぎ帰るところだった、と、これまでの経緯を語った。
English: During this time, Samon and Soemon talk about the Hundred Schools and others, becoming good friends and pledging their brotherhood.
Japanese: この間、左門と宗右衛門は諸子百家のことなどを親しく語らい、友人の間柄となり、義兄弟のちぎりまで結んだ。
English: Samon is preparing food and cleaning the house to welcome Soemon from the morning, and waiting for his return, ignoring his mother's advice.
Japanese: 左門は朝から宗右衛門を迎えるため掃除や料理などの準備をし、母が諌めるのも聞かず、いまかいまかと待ち受けるばかり。
English: The night advances and when Samon gives up waiting and is about to enter the house, Soemon appears like a shadow.
Japanese: 夜も更け、左門があきらめて家にはいろうとしたとき、宗右衛門が影のようにやってきたのだった。
English: Soemon is welcomed by Samon but he acts strangely like rejecting sake and some dishes of food for him.
Japanese: 左門に迎えられた宗右衛門だったが、酒やご馳走を嫌うなど不審な様子を見せる。
English: Soemon tells the story that Tsunehisa, who has killed ENYA, has ordered that his cousin Tanji AKANA be kept in confinement.
Japanese: 宗右衛門は、塩冶を討った経久が自分のいとこの赤穴丹治をつかって監禁させた。
English: Soemon remembered the words that 'A man cannot travel a thousand ri in one day; a spirit can easily do so.'
Japanese: 宗右衛門は、「人一日に千里をゆくことあたはず。魂よく一日に千里をもゆく」ということばを思い出した。
English: Samon blames Tanji for his lack of loyalty, citing a historical event of Koshukuza in Wei.
Japanese: 左門は、魏(戦国)の公叔座の故事を例に挙げ、それに比べて丹治に信義のないのを責めた。
English: The story ends repeating a similar line to an opening, 'Truly, one must not form bonds of friendship with a shallow man.'
Japanese: 物語は「咨軽薄の人と交はりは結ぶべからずとなん」と、冒頭の一節と同意の文を繰り返して終っている。
English: The source of 'The Reed-Choked House' is 'Aiqing zhuan (The Story of Aiqing)' in "Jiandeng xinhua (New Tales After Trimming the Lamp)" and its adaptation made by Ryoji ASAI, 'Fujii Seiroku yujo Miyagino o metoru koto (In Which Fujii Seiroku Marries the Courtesan Miyagino),' in "Otogiboko (Talisman Dolls)."
Japanese: 「浅茅が宿」の原拠は、『剪灯新話』「愛卿伝」と、それを翻案した浅井了意『伽婢子』「藤井清六遊女宮城野を娶事」である。
English: The family was originally rich, but Katsushiro doesn't like working and they are growing poor, and their relatives have shunned them.
Japanese: 元々裕福な家だったが、働くのが嫌いな勝四郎のせいで、家勢はどんどん傾いていき、親戚からも疎んじられるようになった。
English: Katsushiro is stimulated and makes up his mind to turn his entire fortune into silk and go up to Kyoto with a merchant called Soji SASABE.
Japanese: 勝四郎は発奮し、家の財産をすべて絹にかえ、雀部曽次という商人と京にのぼることを決める。
English: Some men who are attracted by Miyagi's beauty try to get close to her, but she refuses them and continues to wait alone for her husband.
Japanese: 宮木の美貌にひかれた男共が言い寄ることもあったが、これを退けるなどして、宮木は心細く夫の帰りを待ちわびる。
English: And when he knows the turmoil taking place in the Kanto region, he tries to hurry on his way home, but he is attacked by robbers and loses his entire fortune in Kiso.
Japanese: そして関東のほうで戦乱が起きていることを知って、急ぎ故郷に帰る途中、木曽で山賊に襲われて財産を全て奪われてしまった。
English: There Katsushiro gets sick, and he stays at a house of SASABE's relatives, the Kodama family.
Japanese: ここで勝四郎は病にかかり、雀部の親戚の児玉の家に厄介になることになる。
English: He wonders if Miyagi is still alive and clears his throat, then he is asked, 'Who is there?,' which is his wife Miyagi's voice, though it sounds husky.
Japanese: もしやと思って咳をすると、向うから「誰（たそ）」と声がしたのは、しわがれてはいるけれどまさしく妻、宮木のものだった。
English: When the wife comes out of the door, she looks completely changed as if she was a different woman.
Japanese: 扉の向うからあられた妻は、別人かと思われるほど、変わり果てたすがたであった。
English: When Miyagi sees Katsushiro, she bursts into tears, and Katsushiro is also astonished at the unexpected situation.
Japanese: 宮木は勝四郎のすがたをみて、泣き出し、勝四郎も思わぬ展開に動転するばかり。
English: Soon Katsushiro tells her about what he was doing, and Miyagi tells him about the hard times she experienced as she waited for him; that night, they sleep together.
Japanese: やがて、勝四郎はことの経緯、宮木は待つつらさを語り、その夜はふたり、ともに眠った。
English: Katsushiro realizes that his wife was dead, and when he looks around inside of the house, he founds a burial mound at the place where the bed was.
Japanese: 勝四郎はやはり妻は死んでいたのだ、と分かり、家を見てまわっていると、元の寝所に塚がつくられているのがあった。
English: He thinks that it is a pity for him not to know when his wife died, and goes outside, where the sun rises high already, in order to see somebody who knows it.
Japanese: 妻がいつ死んだのか知らないのは情けない話だ、事情を知っている人に会おう、と外に出ると、すでに日は高くなっていた。
English: He is the old man who has lived here for a long time; he is called Uruma no Okina, and Katsushiro also knows him.
Japanese: 老人は、勝四郎も知る、ここに古くから住む漆間の翁というひとであった。
English: Uruma no Okina tells him what it was like there amid the turmoil after Katsushiro left, that Miyagi had bravely waited alone for him but the autumn passed and she died on the tenth day of August in the following year, and that Uruma no Okina performed a memorial service for the dead; then he advises Katsushiro to hold a memorial service for her.
Japanese: 漆間の翁は、勝四郎がいなくなったあとの戦乱で乱れたこの土地の様子、宮木が気丈にもひとりで待っていたが、約束の秋を過ぎて次の年の八月十日に死んだこと、漆間の翁が弔ったことを語り、勝四郎にも弔いをすすめた。
English: When Uruma no Okina tells him a story of Tegona, which has been handed down in the village, Katsushiro makes a poem.
Japanese: そして、漆間の翁がこの土地に伝わる手児奈の伝説を語るのをきいて、勝四郎は一首よんだ。
English: "Recent Anecdote, Yoshino of Shoetsu" already made clear in 1783 that 'The Carp of My Dreams' was based on 'Xue lu-shi yu fu zheng xian (Junior Magistrate Xue's Piscine Metamorphosis)' in "Xingshi hengyan (Constant Words of Awakening the World)," and Tanji GOTO pointed out that the work also referred to the hakuwa shosetsu 'Yu fu ji (Account of a Piscine Metamorphosis)' in "Gujin shuohai (Sea of Tales Old and New)" during the Ming period.
Japanese: 「夢応の鯉魚」の典拠は、天明3年に刊行された『近古奇談諸越の吉野』にすでに、『醒世恒言』「薛録事魚服シテ仙ヲ証スルコト」であることが分かっていたほか、後藤丹治によって、さらにその原典の明の時代の白話小説『古今説海』「魚服記」も参照されたことが指摘されている。
English: He particularly likes a painting of fish, and following a dream in which he swims around with many kinds of fish, he paints exactly what he has seen and calls the painting 'The Carp in My Dreams.'
Japanese: 特に鯉の絵を好み、夢の世界で多くの魚と遊んだあとに、その様子を見たままにかいた絵を「夢応の鯉魚」と名づけていた。
English: The disciples wonder and leave the dead alone, and three days later Kogi recovers consciousness.
Japanese: 弟子たちはもしかしたら、とそのまま置いておくと、三日後に興義は生き返った。
English: Kogi says that at the house of the TAIRA officer, one of the supporters of the temple, a banquet is being held and they are eating fresh Namasu (a dish of raw fish and vegetables seasoned in vinegar) and others, so he sends a messenger to ask the supporter to come to the temple, and the TAIRA officer is really having a banquet.
Japanese: 興義は、檀家の平の助の殿がいま新鮮な膾などで宴会をしているはずだから、これを呼びなさい、と命じて、使をやると、果たして、まさしく平の助は宴会をしている最中であった。
English: Kogi tells everybody how the banquet was going in detail, and explains why he knows that.
Japanese: 興義は、助などに向って、宴会の様子を事細かに言い、そしてなぜ分かったのか、わけをはなし始めた。
English: While Kogi was sick in bed, he didn't notice that he was dead and instead went to Lake Biwa, with the use of his walking stick, and swam there.
Japanese: 病に臥せっているうちに興義は、自分が死んだことにも気づかないで、杖を頼りに琵琶湖にまで出て、入り、泳いだ。
English: He wanted to swim more freely and envied the fish, then Watadumi (the lake god) changed his body into that of a carp.
Japanese: もっと自由に泳ぎたく、魚のことをうらやんでいたところ、海若（わたづみ）に体を鯉にしてもらえた。
English: The Michiyukibun in which beauty spots of the Lake Biwa like the Eight Views at Omi appears was praised highly by Yukio MISHIMA, who said, 'the ultimate poem composed by Akinari.'
Japanese: ここからの近江八景など琵琶湖の名所を巡る道行き文は三島由紀夫から「秋成の企てた窮極の詩」と激賞されている。
English: However, after a while Kogi felt hungry and took a bait, whereupon he was caught and taken to the officer's house; he was awake when he was killed with a sword in spite of asking for help.
Japanese: しかしその内、興義は急に餓えるようになり、餌にとびついたところ釣られてしまい、助の屋敷までつれてこられ、助けを求める声も聞かれずに、刀で切られてしまうところで目が覚め、ここにいるのだ、と。
English: The officer wonders at the story, but he makes his servant throw the rest of Namasu dish into the lake.
Japanese: 助はこのはなしを大いに不思議に思ったけれど、残っていた膾を湖に捨てさせた。
English: It is recorded in "Kokon Chomonju" (A Collection of Tales Heard, Past and Present) that his disciple Narimitsu is well known for his divine skill in painting pictures of chickens.
Japanese: 弟子の成光も、鶏がこれを見て蹴るほどの、すばらしい鶏の絵を描くことで有名だったというはなしが、『古今著聞集』にのっている。
English: They had wanted to stay at Kongobu-ji Temple, but they are refused because of the temple's rule, so they decide to spend the night chanting the Buddhist invocation at the veranda of the Lantern Hall before the mausoleum.
Japanese: 金剛峯寺でとまろうと思ったけれど寺の掟によりかなわず、霊廟の前の灯籠堂で、念仏を唱えて夜を明かすことに決めた。
English: When they spend their time in silence, outside a Bupposo bird cries 'buppan buppan.'
Japanese: 静かな中過ごしていると、外から「仏法仏法（ぶつぱんぶつぱん）」と仏法僧の鳴き声が聞こえてきた。
English: When he strains his ears in hopes of hearing the voice of the bird again, he hears something different.
Japanese: もう一回鳴かないものか、と耳をそば立てていると、別のものが聞こえてきた。
English: They are surprised and try to hide, but they are found by a samurai; in a panic, they climb down from the veranda and prostrate themselves on the ground.
Japanese: 驚いて隠れようとしたが二人はやって来た武士に見つかってしまい、慌てて下に降りてうずくまった。
English: The story proceeds to an interpretation of a poem written by Kukai and is collected in "Fuga Collection of Poetry (Waka)," 'If travelers forget that the stream of the Tamagawa River is poisoned, would they take water from it in far-away Koya?'
Japanese: 話は、『風雅和歌集』にある空海の「わすれても汲やしつらん旅人の高野の奥の玉川の水」という歌の解釈に移っていった。
English: When Muzen asks who they are, he knows that the nobleman is a ghost of Hidetsugu TOYOTOMI and that the others are the ghosts of his followers.
Japanese: 夢然が正体を聞くと、貴人が豊臣秀次とその家臣の霊であることが分かった。
English: Muzen writes his poem down with difficulty and presents it to them, whereupon Tonomo YAMAMOTO recites it.
Japanese: 夢然がようよう紙にかいたのを差し出すと、山本主殿がこれをよみあげた。
English: One of the retainers, Awaji (Shigemasa SASABE) suddenly gets upset and tells them that the asura time is coming.
Japanese: 家臣のひとり、淡路（雀部重政）が急に騒ぎ出し、修羅の時が近づいていることを知らせた。
English: So, the calm atmosphere that had filled the place instead becomes bloodthirsty, and everybody there becomes pale.
Japanese: すると、いままでおだやかだった場が殺気立つようになり、みなの顔色も変ってきている。
English: Hidetsugu orders his retainers to take the two people outside on the ground to the asura realm, but he is protested by his retainer and soon they disappear.
Japanese: 秀次は、段下の、部外者のふたりも修羅の世界につれていけ、と配下のものに命じ、これを逆に諌められ、そのうち皆の姿は消えていった。
English: The story ends by stating that when Muzen passed by the brutality mound of Hidetsugu in the Zuisen-ji Temple, he felt something horrible even in daylight, and that this story has been recorded just as he told it.
Japanese: 後に夢然が瑞泉寺にある秀次の悪逆塚の横を通ったとき、昼なのにものすごいものを感じた、とひとに語ったのを、ここにそのまま書いた、という末尾で物語をしめている。
English: His son, Shotaro, has a strong sexual desire, and he doesn't listen to his father but indulges in sensual pleasure.
Japanese: この息子の正太郎というのは、色欲の強い男で、父がとめるのも聞かず、遊び歩いていた。
English: So, he comes up with the idea of taking a woman as his son's wife in order to make him behave, and he arranges a match between his son and Miki KASADA, a daughter of the head priest at Kibitsu Shrine.
Japanese: そこで、嫁を迎えて身持ちを固めさせようと、吉備津神社の神主、香央造酒の娘と縁組がまとめられた。
English: When the water boils in the cauldron, if a sound like lowing cattle is produced, it indicates a good fortune, but if not, a bad fortune.
Japanese: これは、釜のお湯が沸きあがるときに、牛が吼えるような音がでたら吉、音がでなかったときは凶、となっていた。
English: However, there is no sound, so this marriage is considered to be a bad fortune.
Japanese: はたして、まったくなんの音もでなかったので、この婚姻は凶と判断された。
English: When KASADA consults his wife about this oracle, she says they can't change their decision because their daughter and the groom's family are counting the days, so if they reveal the bad fortune like this, they won't know what might happen, and the marriage is decided.
Japanese: このことを香央が自分の妻につたえると、先方も娘もこころまちにしているのに、この様な不吉なことを公表すれば、どうなるかわからない、ふたりが結婚するのは変えられない、といい、そのまま縁組はすすめられた。