nntsuzu/KFTT huggingface dataset:
English: Meanwhile, "Kin-shachi Don" (a bowl of hot rice with two golden hoko (mythical carp with the head of a lion and the body of a fish)) is now designed by planting two Ebi furai, mimicking a pair of hoko, apart on a bowl of rice with hashed meat.
Japanese: ハヤシライスを丼に入れ、鯱に見立てたエビフライを2つ立てた「金シャチ丼」なども考案されている。
English: Souvenirs of Nagoya include a stuffed Ebi furai and pastry named "ebi furai manju" (baked cake).
Japanese: また名古屋の土産物として、エビフライのぬいぐるみや、エビフライ饅頭と称する洋菓子が販売されている。
English: There is a story about the origin of Ebi furai that "Renga-tei" in Ginza Tokyo, a restaurant serving Western-style food, designed Ebi furai in 1900 as a kind of deep fried cuisine (cutlet) after getting an idea from the popularity of Tonkatsu (pork cutlet) and Menchi Katsu (minced meat cutlet).
Japanese: 1900年に、東京銀座の洋食屋「煉瓦亭」で豚カツ・メンチカツが人気を博したことから着想を得て、同様のフライ料理（カツレツ）として考案されたという主張がある。
English: The Kyoto Prize in the category of Arts and Philosophy is a prize awarded to an artist or philosopher for outstanding achievements in his or her respective field.
Japanese: 京都賞思想・芸術部門（きょうとしょうしそう・げいじゅつぶもん）は、京都賞の一部門であり、優れた業績を上げた芸術家や思想家に与えられる賞である。
English: The fields covered by this category include the four fields of 'Music,' 'Fine Art,' 'Film and the Dramatic Arts,' and 'Philosophy/Theory.'
Japanese: 受賞対象分野は、「音楽」、「美術」、「映画・演劇」、「思想・倫理」の四分野。
English: The Kyoto Prize in the category of Basic Sciences is a prize awarded to an scientist for outstanding achievements in his or her respective field.
Japanese: 京都賞基礎科学部門（きょうとしょうきそかがくぶもん）は、京都賞の一部門であり、優れた業績を上げた科学者に与えられる賞である。
English: The fields covered by this category include the four fields of "Biological Sciences," "Mathematical Sciences," "Earth and Planetary Sciences, Astronomy and Astrophysics," and "Life Sciences."
Japanese: 受賞対象分野は、生物科学、数理科学、地球科学・宇宙科学、生命科学である。
English: Ninjo-banashi is a category of rakugo program (traditional comic storytelling).
Japanese: 人情噺（にんじょうばなし）とは、落語の演目の中のひとつのカテゴリである。
English: Rakugo is narrowly regarded as "Otoshi-banashi (a story with comic endings)" (Kokkei-banashi (comic story)), but actually programs include Ninjo-banashi and Kaidan-banashi (ghost story telling).
Japanese: 落語は、狭義では落ちを伴う「落とし噺」（滑稽噺）と理解されることもあるが、実際の演目には人情噺、怪談噺なども含まれる。
English: Beicho KATSURA the third, in his book "Rakugo and Me", defined Ninjo-banashi quite narrowly.
Japanese: 桂米朝(3代目)は自著「落語と私」において人情噺の定義をかなり狭く捉えている。
English: According to him, Ninjo-banashi is kodan storytelling of Sewamono (a category which features the world of townspeople in contrast with "Jidaimono" which features samurai family) emotionally (identifying oneself with the characters), not explanatorily as usual kodan storytelling.
Japanese: すなわち、講談における「世話物」（町人の世界を題材とするカテゴリ。武家を扱った「時代物」に対する）を、講談のように説明口調で口演するのではなく、（登場人物になりきって）感情を入れながら喋るものである。
English: Many of Ninjo-banashi are long and cannot be performed at once, and do not have sage (the point) as he distinguish it from Otoshi-banashi which has the point.
Japanese: 一席では口演し切れない長編が多く、サゲが存在しない―として、サゲのある落とし噺と区別している。
English: In a broader definition, Ninjo-banashi is composed of a prelude, the main topic, and the point as Otoshi-banashi, and some are performed in one time.
Japanese: 広義での人情噺においては、構成は落とし噺同様マクラ、本題、サゲから成り、一席で完結するものも含まれる。
English: (According to Beicho's opinion,) similarly as narrowly defined Ninjo-banashi, their stage is in the world of townspeople, and features love between parents and children, love among a couple, humanity of a typical person from Edo or Naniwa, tragic love between different classes, and other sentimental things.
Japanese: 題材は（米朝見解による）狭義の人情噺同様、町人の世界を舞台にするが、親子愛、夫婦の情愛、江戸っ子ないしは浪花っ子の人情、身分違いの悲恋など情に訴えるものを扱う。
English: It makes the audience laugh by kusuguri (making the audience or the readers to laugh with the entertainment and writings on purpose) or by the point, but as a whole it is a touching story.
Japanese: くすぐりやサゲで笑いを取るが、全体的にはほろりとさせられる噺である。
English: In the Meiji period, Enba SANYUTEI the second who moved from Tokyo to Osaka and Sanba OKINAYA the fifth performed Ninjo-banashi in Kamigata (Kyoto and Osaka area).
Japanese: 明治期に東京から大阪に移った三遊亭圓馬2代目と翁家さん馬5代目が人情噺を上方で演じ伝えた。
English: Although originally there were not story tellers of Ninjo-banashi in Kamigata Rakugo, they have Ninjo-banashi such as "Abura (Oil)", "Oniazami Gangster", "Parting with Son", "Grain Broker Zakohachi", "Shijimi Clam Vendor", "Long Live the Earthen Bridge!", and Kamigata Rakugo storytellers are actively transferring Ninjo-banashi of Tokyo recently.
Japanese: 本来上方落語には人情噺を演じ手がいなかったが、上方には『油』、『鬼あざみ』、『子別れ』、『ざこ八』、『しじみ売り』、『土橋万歳』などの人情噺が伝わっており、近年では上方落語家が東京の人情噺を積極的に移植している。
English: In Showa period, new Ninjo-banashi stories were created such as Tsutomu ARISAKI (Kingoro YANAGIYA)'s "Ramen Shop", Beicho KATSURA the third's "Little Flute", and Yumie HIRAIWA's "A Straw Hat and A Red Windmill".
Japanese: 昭和には有崎勉（柳家金語楼）作『ラーメン屋』、3代目桂米朝作『一文笛』、平岩弓枝作『笠と赤い風車』などの新作人情噺が創作された。
English: Recently Encho SANYUTEI the sixth, Shinsho KOKONTEI the fifth, and Hikoroku HAYASHIYA were regarded as master storytellers of Ninjo-banashi.
Japanese: 近年では、三遊亭圓生(6代目)、古今亭志ん生(5代目)、林家彦六がそれぞれ人情噺の名人とされた。
English: Imasuke KOKONTEI the fifth was regarded as a storyteller of new rakugo, but he was performing Ninjo-banashi excellently.
Japanese: また古今亭今輔(5代目)も新作派と目されていたが、レベルの高い人情噺を演じていた。
English: Today Utamaru KATSURA, Danshi TATEKAWA, and Enraku SANYUTEI the fifth are good at Ninjo-banashi.
Japanese: 現代では桂歌丸、立川談志、三遊亭圓楽(5代目)がそれぞれ人情噺を得意としている。
English: Kikugoro ONOE, the Seventh (October 2, 1942 -) is a Japanese actor and a kabuki actor, and the present head of the profesional name of kabuki, 'Kikugoro ONOE.'
Japanese: 七代目尾上菊五郎（しちだいめおのえきくごろう、1942年10月2日-）は、日本の俳優、歌舞伎役者、歌舞伎の名跡「尾上菊五郎」の当代。
English: He used to play mostly female roles, but as he got older, he became more masculine, and now he mainly plays "tachiyaku" (a leading male-role actor).
Japanese: かつては女形中心だったが、年を増すごとに男っぽさが強くなり現在は立役中心。
English: He was good at playing "Sewamono" (a play dealing with the lives of ordinary people) and especially when it comes to playing an "Edokko" (typical person from Edo) who is a small-scale bad guy, he has no equal.
Japanese: 家の芸の世話物を得意とし、特に江戸っ子・小悪党をやらせたら、現在右に出る者はいない。
English: Apart from acting, he also commits himself to activities such as laeding 'Kikugoro ONOE theatrical company' to pass down Sewamono of "Edo Kabuki" (kabuki of old Tokyo).
Japanese: 「尾上菊五郎劇団」を率いて江戸歌舞伎の世話物を今に伝えるなど、演技以外の活動も盛んである。
English: H also gained much popularity when he stared in "Minamoto no Yoshitsune" (NHK Historical drama) as the youngest actor ever at that time in 1966, thanks to his fine-featured face.
Japanese: またその端正な顔立ちから、日本放送協会大河ドラマ『源義経(NHK大河ドラマ)』（1966/昭和41年）を当時最年少で主演し大人気を博した。
English: His daughter is an actress, Shinobu TERASHIMA, and his son is a kabuki actor, Kikunosuke ONOE (the Fifth).
Japanese: 長女は、女優の寺島しのぶ、長男は、歌舞伎俳優の尾上菊之助(5代目)。
English: April, 1948: He performed as Kamuro (apprentice of a high-class prostitute) in "Sukeroku Kuruwa no Momoyogusa" at Shinbashi Enbujo theatre, referred to himself as Ushinosuke ONOE, the fifth.
Japanese: 1948年4月新橋演舞場にて『助六曲輪菊』の禿で五代目尾上丑之助を名のり初舞台。
English: May, 1965: He succeeded to the name, Kikunosuke ONOE, the Fourth, by performing such as Juro in "Kotobuki Soga no Taimen" (confront with the enemy) in Kabuki-za theater.
Japanese: 1965年5月歌舞伎座にて『寿曽我対面』の十郎ほかで四代目尾上菊之助を襲名。
English: He created Sannosuke boom together with Danjuro ICHIKAWA (the 12th) and Tatsunosuke ONOE (the First).
Japanese: 市川團十郎(12代目)や尾上辰之助(初代)らと三之助ブームを起こした。
English: 1972: He married Sumiko FUJI (the oldest daughter of a producer at Toei Company, Ltd., Hiroshi SHUNDO) who co-stared in "Minamoto no Yoshitsune."
Japanese: 1972年『源義経』で共演した藤純子（東映・俊藤浩滋プロデューサーの長女）と結婚。
English: October to November 1973: He succeeded to the name, Kikugoro ONOE, the Seventh, by performing such as Kikunosuke, the Benten Kozo (a thief) in "Bentenmusume Meono Shiranami," and Hanako, a Shirabyoshi (a women who plays Japanese traditional dance) in "Kyo Kanokomusume Dojoji" (The maiden at Dojo-ji Temple) in Kabuki-za theater.
Japanese: 1973年10月-11月歌舞伎座にて『弁天娘女男白浪』の弁天小僧菊之助、『京鹿子娘道成寺』白拍子花子ほかで七代目尾上菊五郎を襲名。
English: 2003: He was designated a holder of Important Intangible Cultural Property (Living National Treasure) (His father is also a Living National Treasure).
Japanese: 2003年重要無形文化財保持者（人間国宝）に認定（親子二代での人間国宝）。
English: "Kanjincho" is a kabuki program which is based on the Noh play "The Ataka Barrier."
Japanese: 『勧進帳』（かんじんちょう）は、能の演目『安宅』をもとにした歌舞伎の演目。
English: It was originally performed by Danjuro ICHIKAWA the First as a part of "Hoshiai Junidan" (Twelve Scenes of the Love Stars), and was premiered in February 1702.
Japanese: 原形は市川團十郎(初代)が元禄15年（1702年）2月初演の『星合十二段』に取り入れたのが最初。
English: The program's current format is derived directly from the performance of "Kanjincho" which premiered at Kawarazaki Kabuki Theater in March 1840.
Japanese: 現在の型が完成したのは天保11年（1840年）3月に江戸の河原崎座で初演された『勧進帳』。
English: The original cast was as follows: Danjuro ICHIKAWA the Seventh as Musashibo Benkei; Danjuro ICHIKAWA the Eighth as MINAMOTO no Yoshitsune; Danzo ICHIKAWA as Yasuie TOGASHI.
Japanese: 初演時の配役は市川團十郎(7代目)の武蔵坊弁慶、市川團十郎(8代目)の源義経、市川團蔵(6代目)の富樫泰家。
English: Since that time, the three roles of "Kanjincho" have been some of the major roles which are to be performed by marquee players once in their lifetimes.
Japanese: 以後『勧進帳』の三役は歴代の看板役者が生涯に一度は演じる歌舞伎の代表作のひとつとなった。
English: The "Kanjincho" that was performed during the early Showa Period - with Koshiro MATSUMOTO the Seventh cast as Benkei, Kikugoro ONOUE the Sixth as Yoshitsune, and Uzaemon ICHIMURA the Fifteenth as Togashi - in particular was considered a masterpiece, and the performance was also recorded on film.
Japanese: 特に昭和初期の松本幸四郎(7代目)の弁慶・尾上菊五郎(6代目)の義経・市村羽左衛門(15代目)の富樫による『勧進帳』は絶品で、映画にも記録された。
English: The story is set at the Ataka Barrier (now Komatsu City, Ishikawa Prefecture) in Kaga Province, where MINAMOTO no Yoshitsune and his company, on the run after having provoked the wrath of MINAMOTO no Yoritomo, are passing through on their way to Mutsu Province via the Hokuriku District.
Japanese: 源頼朝の怒りを買った源義経一行が、北陸地方を通って陸奥国へ逃げる際の加賀国の、安宅の関（石川県小松市）での物語。
English: However, a piece of information to the effect that Yoshitsune's group would be disguised as yamabushi had already reached Saemon TOGASHI, the barrier keeper, before their arrival.
Japanese: しかし関守の富樫左衛門の元には既に義経一行が山伏姿であるという情報が届いていた。
English: When Benkei tells Togashi that they are on the road soliciting contributions to reconstruct the burned-down Todai-ji Temple, Togashi orders him to read out the kanjincho, the statement for donation.
Japanese: 焼失した東大寺再建のための勧進を行っていると弁慶が言うと、富樫は勧進帳を読んでみるよう命じる。
English: Benkei takes up a scroll he had with him by chance, and, pretending it is a real kanjincho, he "reads" it aloud sonorously (the Scene of Reading Kanjincho Aloud).
Japanese: 弁慶はたまたま持っていた巻物を勧進帳であるかのように装い、朗々と読み上げる（勧進帳読上げ）。
English: Yoshitsune and his company have now passed the crisis, and Togashi offers them sake to make up for his rudeness, while Benkei performs a dance (the Scene of the Ennen no mai (Ennen Dance)).
Japanese: 危機を脱出した一行に、富樫は失礼なことをした、と酒を勧め、弁慶は舞を披露する（延年の舞）。
English: While Benkei dances, he lets Yoshitsune and others escape, then greets Togashi with his eyes and hurries after his master (the Scene of the Roppo Exit).
Japanese: 踊りながら義経らを逃がし、弁慶は富樫に目礼し後を急ぎ追いかける（「六方」）。
English: It is said that in the early rendering, Togashi was represented as a mediocre man who was fooled by Benkei far too easily.
Japanese: 初期の演出では、富樫は見事に欺かれた凡庸な男として描かれていたという。
English: However, in later performances, he is portrayed as a good-hearted man who, despite the fact that he detects Benkei's lie, pretends to be fooled by him because he understands Benkei's sincere heart.
Japanese: 後にはこれが、弁慶の嘘を見破りながら、その心情を思い騙された振りをする好漢として演じられるようになった。
English: The beautiful 'mie' (poses), displayed one after another during the play, such as Tenchinin no mie (the combination of three poses between Benkei, Togashi and Yoshitsune), Benkei's Fudo no mie (a pose as the fearsome Buddhist deity Fudo) and Ishinage no mie (a rock-throwing pose), are also one of the highlights of Kanjincho.
Japanese: 弁慶・富樫・義経の天地人の見得、弁慶の不動の見得、石投げの見得など、美しい見得が次々と演じられるのも見どころである。
English: At the first performance of Kanjincho, Danjuro ICHIKAWA the Seventh had Noh music in mind, so he chose not to use the typical sound effect for the mie called "tsukeuchi," produced with wooden clappers.
Japanese: 初演時、七代目團十郎は能楽を意識して見得につきものの効果音（ツケ打ち）を廃した。
English: This policy with regard to the music is continued even today: there is no musical accompaniment in the performance except for during the 'Ishinage no mie', which represents an army, and the mie displayed just before the Roppo Exit at the end.
Japanese: 現在でもその演出は受け継がれており、軍を表す「石投げの見得」と幕切れの六方に入る直前の見得以外は無音である。
English: During the play, Togashi, who reads Benkei's mind and empathizes with him, raises his head with his eyes closed as if he is trying to stop the tears rolling down his face, and exits the stage.
Japanese: 義経と知りつつ弁慶の胸中を察した富樫は、涙を隠す思い入れで目をつぶり顔をあげていったん退場する。
English: It is said that this performance was first rendered by the acting master Kodanji ICHIKAWA the Fourth, who acted with Danjuro ICHIKAWA the Eighth as Benkei.
Japanese: この演出は、八代目市川團十郎が弁慶を演じた際、富樫を共演した名人市川小團次(4代目)が編み出したとされている。
English: There are several scripts which have been based on Kanjincho, such as the relaxed and somewhat old-fashioned "Gohiiki Kanjincho" (Our Favorite Kanjincho), written by Jisuke SAKURADA the First during the Tenmei Period, and "Ataka no Seki" (The Ataka Barrier), which is a modern interpretation of the story written during the Taisho Period.
Japanese: 『勧進帳』に取材した他の脚本では、天明期に初代桜田治助が作った、大らかで古風な味わいのある『御贔屓勧進帳』（ごひいきかんじんちょう）と、大正期に近代的解釈を施した『安宅の関』が有名。
English: The former is commonly called 'Imoarai Kanjincho' (Potato-washing Kanjincho), taken from the last scene, in which Benkei throws the severed head of a guard into a large barrel and tosses it around with a thick stick as if he is washing potatoes.
Japanese: 前者は、弁慶が番卒の首を大きな樽に放り込んで芋洗いのように棒でかき回すという幕切れから俗に「芋洗い勧進帳」と呼ばれる。
English: "Kanjincho" is the basis for the film "The Men Who Tread on the Tiger's Tail," directed by Akira KUROSAWA.
Japanese: 黒澤明が監督した映画『虎の尾を踏む男達』は『勧進帳』を原作としたもの。
English: When someone talks as if he or she is reading a script, but in fact is improvising his or her speech, the expression 'kanjincho' is used, which is derived from the Scene of Reading Kanjincho Aloud, where Benkei pretends to read the scroll he happened to have with him aloud and sonorously.
Japanese: 弁慶が「読み上げ」で持ち合わせの巻物を朗々と読み上げる場面の連想から、あたかも原稿を読んでいるようで実は即興でものを言っているさまを、「勧進帳」という。
English: Kirishitan-ban (Christian editions) refers to a common name of printing in Roman characters, kanji (Chinese characters) or kana (the Japanese syllabary) which was published by the Society of Jesus mainly in Japan in the early modern period (from the end of the 16th century to the beginning of the 17th century).
Japanese: キリシタン版（きりしたんばん）とは、近世初期（16世紀末-17世紀初め）に日本を中心にイエズス会によって刊行されたローマ字、あるいは漢字・仮名(文字)による印刷の通称である。
English: Alessandoro Valignano who was a priest that came to Japan to propagate Christianity, made a plan as part of an education project for a religious community.
Japanese: キリスト教の布教のため、日本へ来た司祭のアレッサンドロ・ヴァリニャーノが、教団の教育事業の一貫として計画した。
English: However, Kirishitan-ban for which at least 50 publications were printed and published by the western printing art for the first time in East Asia, was an important paper publication in the history of books and printing, and was valuable material also in the linguistic history because Japanese colloquial expressions at that time were described in Roman characters.
Japanese: しかし、50点以上の出版物が刊行され、また東アジアではじめて西洋印刷術によって印行された、書物・印刷史上重要な刊行物であり、ローマ字表記された当時の日本語口語文など、言語史上にも貴重な資料になっている。
English: A group of books called Kirishitan-ban (キリシタン版) was also called as The Jesuit Mission Press in Japan, Nihon Yasokai-ban (Yasokai refers to the Society of Jesus in Chinese) or Kirishitan-ban (吉利支丹版 in Chinese characters) depending on advocates.
Japanese: キリシタン版と呼ばれる書物群は、論者によってTheJesuitMissionPressinJapanや日本耶蘇会版、吉利支丹版などとも呼ばれる。
English: Although there was a discrepancy in the details, they were almost consistent in terms of focusing on the catalogue of books published by the Society of Jesus in Japan.
Japanese: 細目は一致しないこともあるものの、日本においてイエズス会が刊行した書目を中心にすえる点では、大体一致している。
English: At the time of his first visit to Japan to speculate starting from 1579, Alessandoro Valignano who was a missionary of the Society of Jesus recognized through meetings with Japanese missionaries that it was essential to provide education to domestic and foreign people toward further expansion or propagation, and made it a policy to expand an education project.
Japanese: イエズス会の宣教師アレッサンドロ・ヴァリニャーノは、天正7年（1579年）からの初の日本巡察の際、日本の宣教師などとの会議を経て、さらなる布教の拡大には内外人に教育を施すことが欠かせないことを認め、教育事業を拡大する方針をとった。
English: Improvements in the books necessary for education had already been started, but he reported on the necessity to publish textbooks in Japan because of the heavy task of transcribing the textbooks by hand.
Japanese: すでに教育に必要な書物は整備されつつあったが、教科書の書写は負担が大きく、教科書の日本での出版の必要性を報告した。
English: At that time, as a result of close examination of western books, he also mentioned that Japanese believers should not have touched heterodoxy.
Japanese: また、そのとき、西欧の書物をよくよく吟味して、異端に日本の信者がふれぬべきであるとも述べられている。
English: Valignano made a plan to print and publish textbooks for Gakurin (Learners' Forest) in Roman characters, and then to print and publish books for the general people using katakana (one of the Japanese syllabaries).
Japanese: ヴァリニャーノは、学林のために教科書をローマ字によって印行する、またのちに片仮名を用いた一般向けの書物を印行する計画を立てた。
English: Since it was decided to enforce the plan, Valignano caused Monk Jorge De Loyola, Constantino Durado, Augustino and so on to learn a technique in Lisbon with envoys from Tensho Keno Shonen Shisetsu (the Tensho Boy Mission to Europe), and succeeded in bringing back a letterpress printing machine from there.
Japanese: その計画は実行することが決められ、天正遣欧少年使節の使節とともに、リスボンにてジョルジェ・ロヨラ修道士及びコンスタンチノ・ドラード、アウグスティノらに技術を学ばせ、また、同地より活版印刷機を持ち帰ることができた。
English: In the middle of carrying it, an envoy who happened to meet Valignano in Goa gave an address of thanks, and a book commonly called "HARA Martino no Enzetsu" (The original address of Thanks by Martino HARA [Oratio habita a Fara D. Martino Iaponio]) (1588) was printed and published by Constantino Durado.
Japanese: その運搬の途中、ゴアにてヴァリニャーノと邂逅した使節は、感謝の演説を行い、その演説をもとに通称『原マルティノの演説』（1588年）と呼ばれる書物がコンスタンチーノ・ドゥラードにより印行された。
English: The party headed to Japan again, but, could not return to Japan because Bateren Tsuihorei (an edict expelling the European missionaries) (1587) had been already issued by Hideyoshi TOYOTOMI.
Japanese: 一行はふたたび日本へと向かったが、既に豊臣秀吉の出したバテレン追放令（1587年）の後で、ただちに帰国することができなかった。
English: For that reason, the party stayed in Macau, and printed and published "Kirisutokyo Shitei no Kyoiku" (The Education of Christian Children [Christiani Pueri Institutio]) (1588) and "Keno Shisetsu Taiwaroku" (The Record of Dialogues of the Mission of Europe [De Missione Legatorum Iaponensium]) (1590) while staying there.
Japanese: ために、マカオにとどまり、そのあいだに『キリスト教子弟の教育』（1588年）、『遣欧使節対話録』（1590年）を印行した。
English: Although Monk Loyola died in Macau, Valignano who became qualified as an envoy to be sent by the vice King of India, reached Japan in July 1590.
Japanese: ロヨラ修道士はマカオで死去してしまったが、ヴァリニャーノが印度副王の使節という資格を帯びて日本に入ったのは天正18年（1590年）7月のことであった。
English: Therefore, publications in each period were called 'Kazusa-ban' (Kazusa editions), 'Amakusa-ban' (Amakusa editions) and 'Nagasaki-ban' (Nagasaki editions), respectively, using the name of place of printing.
Japanese: そのため、それぞれの時期の出版物は出版地の名を採って「加津佐版」「天草版」「長崎版」とよばれる。
English: "Kontemutsusu Munji" (Contempt of the World [Contemptus Mundi]) printed and published in Kyoto was called 'Harada-ban' (Harada editions) because the name of the publisher was adopted.
Japanese: また、京都で印行された『こんてむつす・むん地』は、出版者の名を採って「原田版」と呼ばれる。
English: The Japanese version of Jesuit Mission Press printed in Nagasaki was printed by a believer by the name of Goto whose printing shop was entrusted by the Society of Jesus, and three publications were identified.
Japanese: また、長崎で印行された国字本は、イエズス会から印刷所を委託した後藤という信者のもとで刷られ、3点が確認されている。
English: Compared to the time when the introduction of a printing machine was decided, a political crackdown on Christians was stepped up.
Japanese: 印刷機の導入が決定された頃と比べて、キリシタンへの政治的弾圧は大きなものとなっていた。
English: Facilities of the Society of Jesus in various places were destroyed, and firstly the printing machine installed at collegio in Kazusa was immediately used to print books in Japanese and Latin, and grammar books of Japanese language, dictionaries and so on were prepared for printing.
Japanese: 各地のイエズス会の施設が破壊され、まず加津佐のコレジオにおかれた印刷機は、日本語及びラテン語の書物の印刷に早速使われ、日本文典や辞書などが印刷のために準備された。
English: For the publishing, the contents were studied and examined closely, and only the authorized contents were published, and used in the religious community in a unified manner thereafter.
Japanese: 出版にあたっては内容を研究・精査し、認可したもののみにし、以降教団で統一的に使用するものとした。
English: After that, the Society of Jesus moved the printing machine to Gakurin in Amakusa, and then to Nagasaki, and left the printing machine to the care of Goto Nobuaki shuin (printing shop); poverty caused him to print the Japanese version of Jesuit Mission Press, and entrusted Antonio HARADA with the printing in Kyoto.
Japanese: その後、天草の学林、長崎へと印刷機は場所を移し、また資金の都合などから、後藤登明宗印（印刷所）へ印刷機を託し、国字本の出版をさせたり、京都において原田アントニオに出版させたりしたのであった。
English: After a sweeping edict expelling Christians was issued in 1614, and the printing machine was moved to Macau, "Nihon Sho Bunten" (The Small Grammar Book of Japanese Language [Arte Breve da Lingua Japoa]) (1620) and others were printed and published, but only a small number of books were printed.
Japanese: 慶長19年（1614年）にキリシタンに対する大々的な追放令が出され、印刷機がマカオに移されたのちも『日本小文典』（1620年）などが印行されはしたものの数点にとどまった。
English: And, books remaining in Japan were also destroyed by fire in 1627.
Japanese: そして、日本に残った書物も寛永4年（1627年）焼却されたのである。
English: In this publishing project, not only books used for the first purpose of training clergymen, but those on the Japanese versions of Jesuit Mission Press in katakana, and also the Japanese version of Jesuit Mission Press in sosho-tai (cursive style writing) kanji and kana were published.
Japanese: この出版事業においては、当初の目的であった聖職者養成に用いる書物、片仮名による国字本に止まらず、草書体漢字・仮名を用いた国字本まで刊行された。
English: Kirishitan-ban ended along with the expulsion of Christians, and the copper type of Yi Dynasty brought in the same period became an origin of the old edition and also an origin of the subsequent woodcut printing culture.
Japanese: キリシタン版はキリシタン追放と共におわり、同時代に持ち込まれた李朝の銅活字が古活字版の起源となりその後の整版文化の祖にもなった。
English: On the other hand, a mainstream opinion was that Kirishitan-ban had no subsequent influence on Japan, but, following an examination of the printing technique, it was pointed out that the old edition was due to an influence of Kirishitan-ban.
Japanese: これに対し、キリシタン版はその後の日本には影響を及ぼさなかったという見解が主流であるが、印刷技法の検討から古活字版はキリシタン版の影響から興ったとの指摘もある。
English: Heike Monogatari (The Tale of the Heike) which had a phrase on its title page saying 'this is a tale of the Heike [the Taira clan] to ease people who want to learn Japanese language and Historia,' and was a book that could be used to learn Japanese language along with Isoho Monogatari (Aesop's Fables [Esopo no Fabulas]) and Kinkushu (collection of good sayings).
Japanese: 平家物語の題扉には「日本のことばとHistoriaを習ひ知らんと欲するひとのために世話にやはらげたる平家の物語」とあり、伊曽保物語、金句集で一つをなす日本語教育書であった。
English: Oraimono (primary textbooks in the style of the exchange of letters) ('Zappitsu sho' [Miscellaneous]) included in "Wakan Roeishu" (Japanese and Chinese poems to sing) was for samurai family, while "Kirishitan orai" (Christian's correspondences) was a textbook also used for children.
Japanese: また、『和漢朗詠集』に含まれる往来物（「雜筆抄」）、『貴理師端往来』は、前者が武家向けのものであるのに対し、後者は小児にも用いるような教科書であった。
English: Meanwhile, the purpose of the books printed and published in Macau was for education in Latin, and in addition, many books including books of creeds such as 'Dochiriina Kirishitan' (Christian Doctrine [Doctrina Christan]), and so on were published.
Japanese: その一方でまた、マカオで印行された書物はラテン語教育のためのものであったし、このほかにも、「どちりいな・きりしたん」などの教義書なども多く刊行された。