五世春の英語

五世長詰（宗意）に至って名を川井惣右衛門と改め、六世一峰（宗岸）の代に徳川家康に出仕して以後、江戸時代を通じて専ら惣右衛門流の名により金春座の座付となる。例文帳に追加

At the time of the fifth head Naganori (Soi), he changed his name to Soemon KAWAI, and after the sixth head Ippo (Sogan) started serving Ieyasu TOKUGAWA, the school was the one exclusively attached to the Konparu troupe in the name of the Soemon-ryu school during the Edo period.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

大和四座とは観世座、宝生座、金春座、金剛座であるが、更に江戸期に金剛座から分かれた喜多流の五つを併せて四座一流と呼ぶ。例文帳に追加

Yamoto-shiza (literally "The four theatres of Japan") are Kanze-za, Hosho-za, Komparu-za, and Kongo-za. In addition, Kita Style was spun off from Kongo-za during the Edo Period. They are collectively called Shiza Ichiryu (literally "four theatres, five styles").発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

他にもこの時代では、永正2年（1505年）粟田口での金春禅鳳、享禄3年（1530年）五条玉造での観世宗節によるものなどが知られている。例文帳に追加

There were some other well known kanjin-Noh performances of this period such as the play performed by Zenpo KONPARU at Awataguchi in 1505 and the play performed by Sosetsu KANZE at Gojo Tamatsukuri in 1530.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

そのうちの「神君家康公御遺文」（慶長十九年二月二十五日付）に、「秀忠公御嫡男　竹千代君　御腹　春日局　三世将軍家光公也、左大臣」と記されていることを根拠としている。例文帳に追加

YAKIRI's theory is based on an article within the book entitled, "Posthumous Writings of Ieyasu" (from March 25, 1614), where it is written that "Hidetada's eldest son was Takechiyo, born from Kasaga no Tsubone, and was the 3rd Shogun Iemitsu, Minister of the Left."発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

天智天皇皇玄孫（四世王）の市原王（いちはらのおおきみ、いちはらおう）に嫁し、五百井女王（いおいのおおきみ、いおいじょおう、生年不詳）・五百枝王（いおえのおおきみ、いおえおう、760年生まれ、のち春原朝臣の氏姓を賜与され臣籍降下）を儲ける。例文帳に追加

She married Ichihara no okimi who was a great-great grandson of the Emperor Tenchi (fourth generation after the Emperor Tenchi) and had Ioi no Joo (year of birth unknown) and Ioe no okimi (born in 760, later he was granted the name of Harubara no Asomi [asomi: second highest of the eight hereditary titles] and demoted from the nobility to subject).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

歌舞伎『金門五山桐』（楼門五三桐）の「山門」の場で「絶景かな、絶景かな、春の眺めは値千金とは小せえ、ちいせえ」と煙管片手に見得を切り、楼門の場の科白で釜煎りにされながら詠む「石川や　浜の真砂は　尽きるとも　世に盗人の　種は尽きまじ（辞世の句とされている）」が有名である。例文帳に追加

The 'temple gate' scene in Kabuki, "Kinmon Gosan no Kiri (Sanmon Gosan no Kiri)" (The Temple Gate and the Paulownia Crest), is a famous scene in which he takes a flamboyant pose with a tobacco pipe in one hand and says, 'What a glorious view, what a glorious view, the scenery of spring is worth its weight in gold, how small that is, how small that is,' and he reads a poem as a part of his line in the temple gate scene, 'Although there maybe an end to ISHIKAWA and sand on the beach, there is no end to the seeds of robbers in this world (said to be his poem at his death)' as he is roasted to death in a cauldron.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

いっぽう日本国内においては、江戸時代初期には、後世から四季醸造と名づけられる技術があり、新酒、間酒（あいしゅ）、寒前酒（かんまえざけ/かんまえさけ）、寒酒（かんしゅ）、春酒（はるざけ）と年に五回、四季を通じて酒が造られていた。例文帳に追加

On the other hand, in the early Edo period Japan had a technique which was later named as sake brewing in all seasons, and the sake were brewed five times throughout a year such as, new brew of sake, aishu (sake brewed in the middle season), kanmae-zake (also referred as kanmae-sake; sake brewed before winter), kanshu (sake brewed in winter) to haruzake (sake brewed in early spring).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

飛ぶ鳥の　明日香の河の　上つ瀬に　石橋渡し　下つ瀬に　打橋渡す　石橋に　生ひ靡ける　玉藻もぞ　絶ゆれば生ふる　打橋に　生ひをれる　川藻もぞ　枯るれば生ゆる　何しかも　わが王の　立たせば　玉藻のもころ　臥せば　川藻のごとく　靡かひし　宜しき君の　朝宮を　忘れたまふや　夕宮を　背きたまふや　うつそみと　念ひし時　春べは　花折りかざし　秋立てば　黄葉かざし　しきたへの　袖たづさはり　鏡なす　見れども飽かず　三五月の　いやめづらしみ　念ほしし　君と時時　幸して　遊びたまひし　御食向ふ　きのえの宮を　常宮と　定めたまひて　あぢさはふ　目言も絶えぬ　しかれかも　あやにかなしみ　ぬえ鳥の　片恋嬬　朝鳥の　往来はす君が　夏草の　念ひ萎えて　夕星の　か往きかく去き　大船の　たゆたふ見れば　なぐさむる　情もあらず　そこゆゑに　せむすべ知れや　音のみも　名もみも絶えず　天地の　いや遠長く　偲び行かむ　み名に懸かせる　明日香河　万世までに　はしきやし　わが王の　形見かここを巻2-196例文帳に追加

Birds are on the wing, Over the Asuka River, Whose upper rapids Were spanned with a stone bridge, Whose lower rapids Were spanned with a wooden bridge; Towards the stone bridge, Fine and green water-weeds grow, And then withering, Soon prosper exuberantly; Toward the wooden bridge River-weeds grow up waving, And then withering, Soon prosper exuberantly; Like those water-weeds As soon as the Prince arose, The Princess rose, too, Waving like the water-weeds; When the Prince lay, The Princess after him lay, Toward him waving; Why could she forget the Prince By whose side she stood, In the Palace where he passed His mornings and evenings? Why did she leave it vacant? When she was alive, when she was well and happy, In the springtide She decked her hair with flowers, And in the autumn Adorned it with yellow leaves; She intermingled Her sleeves with the Prince's sleeves, And she watched the moon Full and clear as a mirror With admiration, With love and deep affection, Standing by his side; On another occasion She went out with him To the Palace of Kinoe, Where delicacies Were graciously offered to them; This part of Kinoe As her everlasting place, The Princess departed; And we can't see nor speak with her; Be that as it may (or Yet, nevertheless,) Swollen with the deep sorrow, Like the fairy bird, Longing for the departed, Line the morning bird, The Prince did come and go, Like the summer grass Pining and withering away, Like the evening star Going and sinking in grief; Like a swaying ship, The Prince's heart kept wavering; As this I know not How to comfort his sorrow; So I know no way And simply wish to retain The tone of her voice, Only to remember her name For ever and ever, As long as heaven and earth, Her beloved name Committing to memory, And love on her name By the Asuka River For generations As the precious memento Of the dear, deceased Princess (Manyoshu, Volume 2 -196).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス