nntsuzu/KFTT huggingface dataset:
English: Yoshizawa also studied under Cho-o HIMURO, a scholar of Japanese classical literature, gaining for himself a deep knowledge of Japanese classical literature and waka poetry, and also created his own lyrics and music.
Japanese: また国学者氷室長翁に師事して国学、和歌にも造詣深く、自ら作詞した自作曲もある。
English: Yoshizawa excelled in music from an early age, adding a koto part to the jiuta 'Yashima' at the age of eleven; in 1852, he was given responsibility for visually impaired people in Owari (present-day Aichi Prefecture) by the domain, with a stipend for five persons, and became a celebrated musician in Nagoya, performing at various occasions for the Owari Tokugawa family, including playing Heikyoku at memorial services for their ancestors, playing the kokyu at the Dolls' Festival, and composing a song for the marriage ceremony of the head of the family that owned Matsuzakaya (present-day Matsuzakaya Department Stores).
Japanese: 11歳で地歌「屋島」に箏の手を付けるなど幼少より楽才秀で、1852年（嘉永5年）には藩の命で尾張の盲人支配頭となり、五人扶持を賜り、尾張徳川家の諸行事での演奏、例えば先祖供養の際の平曲演奏や、雛の節句での胡弓の演奏などを勤めたのをはじめ、松坂屋（現松坂屋百貨店）の当主の婚礼祝いの曲を作ったりと、名古屋の名士音楽家として活躍した。
English: Yoshizawa's wife's family was also affluent and economically blessed, and Yoshizawa rose to a prominent position within Todo-za.
Japanese: 夫人の実家も裕福で経済的にも恵まれており、当道座の高位役職に進んだこともある。
English: On the other hand, Yoshizawa's fellow musicians were often jealous of his abilities, and he frequently stayed in Kyoto to avoid Nagoya.
Japanese: いっぽう彼の才能に対して同僚音楽家たちの妬みを買うことも多く、名古屋を避けて京都で暮らすこともしばしばあった。
English: Yoshizawa became friends with musicians in the Kyoto and Osaka area due to the reason above, his compositions being especially influenced by Kyoto's Kengyo MITSUZAKI, and he also received instruction on 'Tsuru-no-Sugomori,' a kokyu piece, from Gentoku in Osaka.
Japanese: こうして京阪の音楽家たちとも交流が深く、とくに京都の光崎検校からは作曲上で大きな影響を受け、また大阪の厳得からは胡弓曲「鶴の巣籠」を伝授されている。
English: Yoshizawa often traveled between Nagoya and Kyoto while composing and although he died in Kyoto in 1872, he taught many students during his lifetime and his influence can still be seen today, especially in Nagoya.
Japanese: 数回名古屋と京都を行き来して作曲活動を行ない、1872年（明治5年）に京都で没したが、生涯多くの門弟を育て、今日でも名古屋を中心にその流れは伝承されている。
English: By the latter half of the Edo Period, the shamisen had become the most important instrument in Japanese music, but towards the end of the period there was a feeling that, with technique having been fully developed, the rise of the 'kaede' ensemble, which involved intricate interplay with the koto, and the 'tegoto-mono' style of composition being perfected, it had nowhere left to go musically and so a new way to express compositions beyond these was sought.
Japanese: 江戸時代の音楽は中期以降、三味線がリードしてきたが、幕末にはその技巧が発展の極に達してしまい、またそこに複雑に箏が絡み合う「替手」式合奏が発達、楽曲形式としての「手事もの」も完成し、行き着く所まで来たという感があり、それを超える新たな作曲表現が模索されるようになった。
English: Such attempts can be seen in the many styles of pieces from the end of the Edo Period, especially those of Kengyo MITSUZAKI in Kyoto, who found a new direction in composition by refocusing on the koto, which had been neglected in favor of the shamisen since Kengyo IKUTA at the Genroku era (the end of the 17th century) and left koto-only masterpieces such as 'Godan-ginuta' (Instrumental in Five Sections) and 'Akikaze no Kyoku' (Song of the Autumn Wind).
Japanese: このような試みは幕末の音楽作品に色々なかたちで垣間見えるが、中でも、元禄の生田検校以来、三味線に対し従属的な立場にあった箏に再注目することによって、作曲に新たな方向性を見いだしたのが京都の光崎検校であり、「五段砧」「秋風の曲」など箏のみの名曲をも残している。
English: These influences led Kengyo YOSHIZAWA to learn and research the oldest koto pieces, known as 'kumiuta,' and gagaku (ancient Japanese court music) under Shuraku HAZUKA, a gagaku musician, to devise a new tuning based on that of the Japanese harp, and to compose many koto-oriented pieces including 'Kokin-gumi' and 'Shinkokin-gumi.'
Japanese: 吉沢検校もその影響を受け、古い時代の箏曲である「組歌」や、さらには雅楽家羽塚秋楽に雅楽を学んで研究し、楽箏の調弦にヒントを得た新調弦を考案、「古今組」「新古今組」をはじめとして箏本位の曲を多く作曲した。
English: These works had the grace of koto pieces and the traditional elegance of gagaku, while musically they allowed freer development and showed an almost modern impressive portrayal, establishing a distinctive style.
Japanese: これらは箏曲本来の気品と雅楽的な古雅さを備え、一方で音楽的にはより自由な展開をさせ、近代的ともいえる印象的描写性もみられ、よく独自のスタイルを確立している。
English: They became known nationwide after the Meiji Restoration, especially 'Chidori no Kyoku' (The Song of the Plover), which inspired similar pieces around the country, particularly in Osaka.
Japanese: 維新後には全国的に広く知られるようになり、特に「千鳥の曲」と同様の様式の曲が大阪を中心に各地で作られることとなった。
English: Moreover, the descriptive expression of the seaside seen in 'Chidori no Kyoku' foreshadows the later 'Haru no Umi' (Spring Sea).
Japanese: また、例えば「千鳥の曲」に見られる海辺の描写的表現は、後世の「春の海」を予見させるものがある。
English: In other words, it is safe to say that Yoshizawa's koto pieces (as well as those by Kengyo MITSUZAKI) defined the direction Japanese music would take after the Meiji period, with 'Chidori Music' being a turning point.
Japanese: つまり吉沢の箏作品(光崎検校の箏作品も含め)は「千鳥の曲」を一つの転換点として、明治以降の日本音楽の流れを方向づけることになったということもできるであろう。
English: However, as his song writing progressed, he sought succinct beauty with his final works, even to the exclusion of elegance, which made them difficult for general people to accept.
Japanese: ただし作曲が進むに従い、晩期の作品では簡潔美の追求が進み、流麗さすら排除されて一般受けしづらくなる傾向にある。
English: This was probably an expression of the isolated soul of an artist who avoided the troublesome world and the unstable social conditions of the last days of the Tokugawa Shogunate.
Japanese: これは多分に人の世の煩瑣や最幕末の不安定な世相を厭う、芸術家としての孤高の精神の発露ゆえなのであろう。
English: However, some Meiji-period koto players including Koson SUZUKI, who established the Kyogoku-ryu koto school, continued the Yoshizawa Line.
Japanese: しかし、やはりこういった吉沢の路線を受け継ぎ、京極流を打ち立てた鈴木鼓村のような明治期の箏曲家もいる。
English: As such, Kengyo YOSHIZAWA's achievements in the koto music of the end of the Edo Period are extremely noteworthy.
Japanese: このように幕末期の箏曲における吉沢検校の業績には、実に多大なものがある。
English: However, as described below, it should also be remembered that he also produced many Kyoto-style 'tegoto-mono' works and as well as pieces for the kokyu.
Japanese: しかし次に挙げるように、吉沢検校には従来の京流手事ものの作品や、胡弓のための作品も少なくないことを忘れてはならない。
English: Most of Yoshizawa's shamisen pieces (jiuta) are 'tegoto-mono,' although he also composed 'hauta' (literally, 'short songs').
Japanese: 三味線の作品（地歌）は手事ものがほとんどで、その他には端歌ものも作曲している。
English: The 'tegoto-mono' were stylistically no different to the Kyoto style 'tegoto-mono' and there is no particular sense of Yoshizawa having developed anything new since by that time, shamisen technique was already fully developed, although they possess a slightly different originality compared to the Kyoto composers.
Japanese: 手事ものは様式的には「京流手事もの」を完全に踏襲しており、さすがに既に三味線の技巧が極められてしまっている時代であるだけに、特別に吉沢が新たに切り開いた感はないが、やはり京都の作曲家のものとは少し違う独自性が感じられる。
English: Yoshizawa also sought a high technical level for the shamisen, with 'Hana no Enishi,' a large majestic piece with tegoto in two places, indicating the richness of the instrumental side of his works.
Japanese: 三味線の技巧もかなり高度に追求され、「花の縁（えにし）」は手事を二箇所に持つ堂々とした大曲であり、吉沢検校の作品における器楽面での充実ぶりを示している。
English: Another characteristic is the large number of songs with a bright atmosphere, such as 'Tamakushige' and 'Natsugoromo,' in addition to those mentioned above.
Japanese: 同曲の他「玉くしげ」「夏衣」など、明るい雰囲気の曲が多いのも特徴である。
English: It seems that he was skilled with the koto since childhood, and had already added a koto arrangement to 'Yashima,' a jiuta song, at the age of eleven, after which he added arrangements to numerous existing jiuta songs, different in atmosphere to the Kyoto arrangements by composers such as Kengyo YAEZAKI.
Japanese: 幼少の頃から箏にも長けていたらしく、既に11歳で地歌「屋島」に箏の手を付けているのをはじめ、既存の地歌曲にもいくつか箏の手付けをしているが、これらもやはり八重崎検校など京都の手付けとは雰囲気が異なっている。
English: Moreover, he also created kaede (accompanying melody) for 'Akikaze no Kyoku' (Song of the Autumn Wind) by Kengyo MITSUZAKI, who had a significant influence on his compositions.
Japanese: また作曲上大きな影響を受けた光崎検校の「秋風の曲」にも箏の替手を作っている。
English: On the other hand, the hauta 'Suteogi' (Discarded Fan), created when leaving Nagoya and its bad memories, is a piece which should not be underestimated regardless of its small size, with frequent flowing key changes and a melody with an extremely elaborate fushizuke (where the melody is fitted to the text), which as well as recalling his compositional skills, also acutely show disappointment and sadness and, thereby, an aspect of Yoshizawa's mind different from that of the elegant 'Chidori no Kyoku' and the bright, gorgeous 'Hana no Enishi.'
Japanese: 一方、同僚たちの妬みによって、辛い思いをした名古屋を去る時に作った端歌もの曲「捨扇」では、流麗な中に頻繁な転調や非常に凝った節付けの歌など、小品ながら侮りがたい作りで、作曲術の力量のほどが偲ばれるとともに、失意や悲しみがひしひしと感じられ、雅びな「千鳥の曲」や明るく華やかな「花の縁」などとはまた違った、吉沢の心の一面を垣間見ることができる。
English: In a way, it could be said to be a modern direct expression of how the composer himself really felt.
Japanese: 作曲者個人の生の心情を直接的に表すということも、ある意味近代的といえるかもしれない。
English: A major characteristic of all his pieces is that only a few examples relate to love.
Japanese: 彼の作品全般を見渡してみると、内容としては恋愛的要素が数例しか見られないのが大きな特徴である。
English: This trend is especially true in his jiuta, which is extremely unusual for shamisen music.
Japanese: ことに地歌曲にその傾向が希薄なのは、三味線音楽として見た場合、まことに珍しいことである。
English: Furthermore, Kengyo YOSHIZAWA also focused on the kokyu, and one of his most important achievements was elevating the status of and writing original melodies for the kokyu, which until then had been used in unison with the shamisen.
Japanese: 吉沢検校は更に胡弓にも注目、これまで合奏においてほとんど三味線にユニゾンで加わっていた胡弓に独自の旋律を与え、胡弓の地位を高めたことも彼の業績として重要である。
English: This was traditionally the most ignored of Kengyo YOSHIZAWA's achievements.
Japanese: この点は従来、吉沢検校の業績を語る上でもっとも留意されてこなかった。
English: However, the arrangements were technical and creative enough to make kokyu the main part in some pieces, and in some of his own compositions he wrote all the shamisen, koto, and kokyu parts by himself.
Japanese: しかし曲によっては胡弓が主役となるほど技巧的、独創的な手を作っており、いくつかの自作曲では一人で三味線，箏、胡弓の全パートを作った。
English: Kokufu Ongaku Kai (the Traditional Japanese Music Association), which continues to preserve Yoshizawa's tradition, has made three pieces, Yoshizawa's kokyu pieces 'Chidori no Kyoku' and 'Semi no Uta' (Song of the Cicadas), and Gentoku's 'Tsuru no Sugomori' their 'kokyu honkyoku' (music for the kokyu).
Japanese: 現在も吉沢の伝承を守っている国風音楽会では、彼の胡弓作品である「千鳥の曲」「蝉の曲」と、大阪の厳得から伝えられたという「鶴の巣籠」の三曲を同会の胡弓本曲としている。
English: Heikyoku (Heike biwa) developed from the ancient musical forms of gagaku and shomyo (chanting of Buddhist hymns), and is typical medieval Japanese music together with Nohgaku (the art of Noh).
Japanese: 平曲（平家琵琶）は古代の日本音楽である雅楽と声明（しょうみょう）から生まれ、能楽と共に中世を代表する日本音楽である。
English: Originally, performing heikyoku was an official profession of visually impaired musicians of the Todo-za, who played only this style, by which heikyoku boasted enormous popularity in the medieval period.
Japanese: もともと当道座の盲人音楽家たちは、この平曲の演奏こそが正規の本業であり、もっぱらにしていたし、平曲は中世には絶大な人気を保っていた。
English: However, the shamisen, an instrument full of expression, introduced from abroad and reached its full potential by the early Edo period, and moreover, the koto and kokyu were added and consequently a new kind of music developed.
Japanese: しかし近世に至って表現豊かな楽器である三味線が渡来、完成され、更に箏、胡弓が加わり、これらによる新たな音楽が生まれた。
English: Former biwa-playing minstrels, that is, the visually impaired musicians of the Todo-za, were also involved with this.
Japanese: これに携わったのもかつての琵琶法師、つまり当道座の盲人音楽家たちであった。
English: While they contributed to the flourishing of shamisen music and koto music, heikyoku, which should have been their original profession, came to a complete standstill, being handed down with no new work, and gradually the number of musicians who could play heikyoku decreased.
Japanese: こうして彼らにより三味線音楽や箏曲が興隆する一方で、本来彼らの表芸であるはずの平曲は完全に停滞、固定化して、ただ伝承されるだけの存在となり、新作もなく、平曲を演奏出来る人は次第に減少して行った。
English: A few musicians continued to play mainly heikyoku in the Edo Period, but they could not stop it from declining.
Japanese: 江戸時代にも平曲をもっぱらとする演奏家はいたが、衰退を止めることはできなかった。
English: Kengyo YOSHIZAWA learned the style of the Hatano School, one of the great schools of Heikyoku in the Edo period, from Kengyo OGINO, and he introduced it to his disciples.
Japanese: 吉沢検校は江戸時代の平曲の大流派の一つである波多野流を荻野検校に学び、門弟たちに伝えた。
English: Nowadays, the tradition of Heikyoku has almost died out, although Kengyo YOSHIZAWA's influence continues in Nagoya even now in an extremely valuable existence (there is another tradition in Sendai as well).
Japanese: 現在では平曲の伝承がほとんど絶えてしまった中で、吉沢検校からの流れが名古屋において今も伝承されており、極めて貴重な存在となっている（他に仙台にも別の伝承がある）。
English: Moreover, his jiuta pieces show the influence or application of the fushimawashi (melody) of Heikyoku, although this is not limited to Yoshizawa.
Japanese: また必ずしも吉沢に限ったことではないが、彼の地歌作品の中にも、平曲の節回しの影響、あるいは応用と見られる部分がある。
English: It was often said that Kengyo YOSHIZAWA 'advocated reversionism' or 'established the independent spirit of koto music,' because he had taken old koto music and gagaku to create many pieces of pure koto music.
Japanese: 吉沢検校が古い箏曲や雅楽を取り入れ純箏曲を多く作ったということで、かつては彼が「復古運動を提唱」したとか、「箏曲独立の精神を樹立」したなどと言われることがしばしばあった。
English: However, there is no record that Yoshizawa himself actually advocated such a thing, and it is a fact that his works include many kokyu and shamisen pieces, as mentioned above.
Japanese: しかし吉沢本人が実際にそのようなことをとなえたという記録は何もないし、現実として彼の作品には前述のように胡弓曲や三味線曲も多い。
English: It is true that many aspects of reversionism can be seen in his koto music, but reversionism could be generally found in the culture of the time and not only in his koto music.
Japanese: 確かに彼の箏曲に復古主義的な面は濃厚に見られるが、復古主義は当時の文化全般に見られ、箏曲に限ったことではない。
English: Rather, it would be fair to say that he discovered and opened up a new way of expression in koto and kokyu composition, adding to the traditional jiuta shamisen.
Japanese: むしろ、従来の地歌三味線に加え、さらに箏や胡弓に新たな作曲表現の道を見いだし、切り開いたという方がより正しいと言えるだろう。
English: MICHISHIMA no Shimatari (year of birth unknown – Februay 17, 783) was a warrior of the Nara period.
Japanese: 道嶋嶋足（みちしまのしまたり、生年不詳-延暦2年（783年）1月8日）は奈良時代の武人。
English: In October, 764, FUJIWARA no Kusumaro, who was a child of FUJIWARA no Nakamaro, attacked an imperial envoy to take away gyokuji (imperial seal) and ekirei (bell needed for the exercise of imperial power).
Japanese: 天平宝字8年（764年）9月、藤原仲麻呂の子の藤原訓儒麻呂が勅使を襲撃して玉璽と駅鈴を奪おうとした。
English: Receiving an imperial order, Shimatari and SAKANOUE no Karitamaro, Shojo (junior lieutenant) of Jyutoei, hastened there and shot Kusumaro to death (FUJIWARA no Nakamaro's War).
Japanese: 嶋足は授刀衛少尉坂上苅田麻呂とともに勅命を受けて馳せかけて、訓儒麻呂を射殺した（藤原仲麻呂の乱）。
English: In 766, he was promoted to Shoshiinojo (Senior Fourth Rank, Upper Grade), and subsequently served as uchi-no-umaya-no-kami (manager of stables of the Imperial Palace) and Kuni-no-mikotomochi (provincial governor) of Shimousa Province, of Harima Province and so on.
Japanese: 天平神護2年（766年）正四位上に進み、その後、内廐頭、下総国、播磨国などの国司を歴任した。
English: Among people from powerful families of so-called Emishi (northerners) who had ruled the local area of Mutsu Province for generations, Shimatari was the only person who succeeded as bureaucrat of the central government.
Japanese: 陸奥在地のいわゆる蝦夷系豪族で中央官僚として立身できたのは嶋足だけである。
English: In the Jinshin War in 672, he was on the side of Prince Oama (Emperor Tenmu), and rode a horse alone to Yamato-no-miyako (the capital), where the enemy troops were gathering, to spread false information among them.
Japanese: 672年の壬申の乱で大海人皇子（天武天皇）につき、倭京に集結中の敵軍に単騎のりこみ虚報を流した。
English: When Prince Oama raised an army in late June (in old lunar calendar) of the year of Jinshin (Mizunoe-Saru [one of the Oriental Zodiac], year 672), OTOMO no Fukei decided to follow him and gathered dozens of comrades in Yamato Province.
Japanese: 壬申の年（672年）6月下旬に大海人皇子が挙兵すると、大伴吹負はこれに従うことを決め、大和国で数十人の同志を集めた。
English: However, it is estimated that the number of the troops on the side of Prince Otomo, who were gathering in Yamato-no-miyako, exceeded several thousands or ten thousands, and Fukei's troops was no match for them.
Japanese: しかし倭京に集結中の大友皇子側の軍勢は数千から万を越えたと推測され、吹負の人数で太刀打ちできるものではなかった。
English: OTOMO no Fukei consulted with another Todomarimamoru-tsukasa, SAKANOUE no Kumage, and told a few Aya no Atai (the Yamatonoaya clan holding the title of Atai) his plan as follows.
Japanese: 大伴吹負は、別の留守司坂上熊毛と相談し、一、二の漢直（倭漢氏の直）に下記のように言った。
English: 'I will falsely introduce myself as Prince Takechi and approach the enemy camp with dozens of horse soldiers by the north route of the Asuka-dera Temple.'
Japanese: 「我は偽って高市皇子と名乗り、数十騎を率いて飛鳥寺の北路から陣営に臨む。」
English: Prince Takechi was a child of Prince Oama, and in fact he was organizing a troop in Fuwa County of Mino Province at that time.
Japanese: 高市皇子は大海人皇子の子で、このころ実際には美濃国の不破郡で軍を編成中であった。
English: On June 29 (in old lunar calendar), Fukei and his comrades armed themselves at a house of Kudara (the place is unknown, although there are various theories about it), and departed from the south gate.
Japanese: 6月29日、吹負たちは百済の家（場所は諸説あるが不明）で武装して、南門から出た。
English: Firstly, HADA no Kuma, wearing only tokubi (tokubi-kon, a loincloth shaped like a cow's nose), ran his horse to the enemy's camp, the west of Asuka-dera Temple, and said as follows.
Japanese: まず秦熊が犢鼻（牛の鼻に似た形のふんどし）をつけて馬に乗り、飛鳥寺の西にあった敵陣に馳せつけて、下記のように言った。
English: Then OTOMO no Fukei appeared on a horse with dozens of horse soldiers, and Kumage and each Atai responded from the inside.
Japanese: ここで大伴吹負が数十騎を率いて乗り付けると、熊毛と諸々の直が呼応した。
English: The plan succeeded completely, and HOZUMI no Momotari was killed and Takasaka no Okimi followed Prince Oama.
Japanese: 計略は完全な成功をおさめ、穂積百足は殺され、高坂王は大海人皇子方に従った。
English: Especially, he was good at 'sekifu' (projection or seeing an object through a cover), and he once performed it in front of the Emperor.
Japanese: 特に覆物の中身を当てる「射覆」を得意とし、帝の前でそれを披露した事もあった。
English: It is said that he picked out ABE no Seimei and taught him the essence of Onmyodo (yin-yang philosophy) as if he 'poured the whole water of a bottle into another ("Konjaku Monogatari (Shu) " [The Tale of Times Now Past]).
Japanese: 安倍晴明を見出し、彼に「まるで瓶の水を移すかのように（今昔物語集）」陰陽道の真髄を教えたという。
English: KAMO no Tadayuki was very good at 'sekifu,' a practice to guess an article inside a cover, and in the Engi era, he was ordered by Emperor Daigo, the emperor of that time, to show his skill.
Japanese: 賀茂忠行は覆物の中身を当てる「射覆」が得意であったといわれ、延喜年間に時の醍醐天皇からこの腕を披露するように命じられた。
English: In front of Tadayuki, a octagonal box was placed, and he accurately told 'there is a juzu (rosary) of crystal beads linked together with a vermilion string.'
Japanese: 忠行の目の前には八角形の箱が目の前に出され、これを占った結果は「朱の紐でくくられている水晶の数珠」である事を見事的中させた。
English: According to the '安倍晴明忠行に随いて道を習いし語''Story of ABE no Seimei's learning the way under Tadayuki' in the "Konjaku Monogatari (Shu)," one day, when Tadayuki was on the way back home from the Imperial Palace, he was waken up by young attendant ABE no Seimei, who was outside the gissha (ox-drawn carriage).
Japanese: 今昔物語集の「安倍晴明忠行に随いて道を習いし語」によれば、ある時忠行が内裏より自邸に帰宅途中、牛車の外にいた供の幼少の安倍晴明に呼び起こされた。
English: When Tadayuki looked out of the window, he saw Hyakki yagyo (night parade of one hundred demons), and since this experience, in which he had a narrow escape, he gave Seimei a special affection.
Japanese: 外を見ると百鬼夜行の一団と遭遇、難を逃れ、それ以降晴明を可愛がったという。
English: According to the 'Story of KAMO no Tadayuki's teaching the way to his son Yasunori' in the same book, when Tadayuki went to a nobility's residence to purify the residence, Tadayasu took his son with him because his little son, KAMO no Yasunori said that he would like to accompany him.
Japanese: 同じく「賀茂忠行、道を子の保憲に伝えし語」では、忠行がある貴人の家にお祓いに行く時、幼いわが子・賀茂保憲が供をするというので連れて行った。
English: The ritual finished smoothly, and on the way back, Yasunori talked to his father that he witnessed uncanny-looking figures that were eating the offerings in front of the altar and playing with them.
Japanese: 無事終わって帰宅途中に保憲が祭壇の前で供物を食ったり、それで遊んだりしている異形の者を目撃した事を話す。
English: Then, he foresaw his son's unusual capacity and taught the Onmyodo to his son.
Japanese: すると忠行は自分の子のただならぬ能力を予見し保憲に陰陽道を教えたという。
English: Until then, the three department of Onmyoryo (Bureau of Onmyodo: a government office that had jurisdiction over calendar preparation, astronomy, divination, etc.) (Onmyodo), Tenmondo (astrology), Rekido (learning of the calendar) and Onmyodo, were divisively undertaken by each specialists; however, KAMO no Tadayuki, who was a Rekika (scholar of Rekido), controlled all the three department beyond these scopes of duties and established the Kamo clan, the family that produced yin yang philosophers.
Japanese: それまで陰陽寮（陰陽道）の天文道・暦道・陰陽道の三部門はそれぞれ専門家による分業であったが、暦家である賀茂忠行はその職掌を越え、この三つをもすべてを掌握し、陰陽家・賀茂氏を確立した。
English: This led to the monopoly of Onmyoryo and Onmyodo by the Kamo clan and the Abe clan, which was Tadayuki's disciple line.
Japanese: 後にこれが弟子筋の安倍氏との賀茂・安倍二氏による陰陽寮および陰陽道の独占の基礎ともなる。
English: ABE no Seimei, who was the disciple of Rekika (scholar of learning of the calendar) KAMO no Tadayuki, ascended to Onmyoji (yin yang master) after holding the position of Tenmon tokugyo no sho (researcher of the astrology), and finally up to Tenmon hakase (master of astrology), and later, he took over the title of Soke (head of the school) of Tenmondo (astrology) from Tadayuki's son, KAMO no Yasunori.
Japanese: 実際、安倍晴明は暦家・賀茂忠行の弟子であるが、天文得業生を経て陰陽師、果ては天文博士に昇進、後には忠行の子・賀茂保憲より天文道宗家を譲られている。
English: In the background of the integration of the three departments of Onmyodo that KAMO no Tadayuki achieved, there was a circumstance, in which various updated theories and philosophies related to the Taoist theory of the five elements were no longer conveyed to Japan due to the abolishment of the Kento-shi (Japanese envoy to Tang Dynasty China) by Michizane SUGAWARA in 894.
Japanese: このように賀茂忠行（賀茂氏）が陰陽道の三部門すべてを統括するにいたった背景にあるものは、894年に菅原道真による遣唐使の廃止によって陰陽五行説に関わる諸説・諸思想の最新の情報が日本に伝播されなくなったことである。
English: Since no up-to-date information came to Japan from the continent, they were obliged to teach and use the existing information.
Japanese: 大陸より最新の情報が入らなくなったことにより、既存のもののみ教授・利用しなくてはならなくなった
English: Therefore, students of the Onmyodo were limited to the descendents of the secular officials who had been in service since the outset of the Onmyoryo's establishment, and the training was conducted in closed environment,
Japanese: その為、ほとんどが陰陽寮成立当初より存在する俗人官僚の子孫のみに履修生を限定し、閉鎖的に人材育成を行うことになる。
English: As a result, in the period in which KAMO no Tadayuki played an important role, the staffs of Onmyoryo had been reduced in number.
Japanese: この為、陰陽寮は賀茂忠行が活躍した時代には人員が少なくなってしまっていた。
English: Influenced by this, within the Onmyoryo, they had to take charge of additional posts of more than two departments, which was originally prohibited, or they had no choice but to cope with the shortage of capable persons by using those holding the positions of 'gon' (provisional positions, such as Gon no tenmon hakase [provisional master of astrology] or Gon no reki hakase [provisional master learning of calendar], which were originally set up as a kind of auxiliary or honorary post.
Japanese: その影響を受け、陰陽寮内では本来は禁じられていたはずの複数部門の兼務や、本来は補助職・名誉職的要素の強い「権（権天文博士・権暦博士など）」職で対応するという状態が仕方なく行われつつあった。
English: The Kamo clan stepped into the Onmyoryo, where the positions had been hereditary and the education had been closed until then, as a 'new comer.'
Japanese: 賀茂氏は、世襲となり閉鎖的に教育が行われていた陰陽寮にいわば「新参者」として参入した。
English: And in addition to the element of jujutsu (an occult art) derived from Taoism, which was the basis of the Onmyodo, he adopted diversified elements of theistic religions including Tantric Buddhism, which was flourishing in that period, and religious belief related with jujutsu (an occult art).
Japanese: そして、陰陽道の根幹である道教の持つ呪術に加えて、当時隆盛を誇っていた密教などの有神論的宗教や呪術信仰を多様に取り入れた。
English: Although the Onmyoryo had been degraded to a mere 'institution of authorization' or 'executing institution of everyday rites and rituals,' serving only to testify the authority of the Emperor under the Ritsuryo system (an ancient system of centralized governance based on the Ritsuryo code), he succeeded in finding a new way not only in the Onmyoryo but also in the philosophy of Onmyodo.
Japanese: 律令下において天皇の権威を証明するのみの「権威的機関」・「慣例行事履行機関」となりつつあった陰陽寮、ひいては陰陽道の新たなる活路を見出すことに成功した。
English: Such achievements lead him to gain an enormous support of the Emperor and the people of influence, and shortly he began to distinguish himself in the Onmyoryo, where only a reduced number of officials were remained.
Japanese: このような実績によって天皇や権力者に絶大な支持を得ることに成功し、人員の少なくなった陰陽寮内でたちまちその頭角を現した。