「love on」に関連した英語例文の一覧と使い方(6ページ目) - Weblio英語例文検索

For example, a Kabuki actor who plays the role of a young girl or young man in love will wash their face, rub bintsukeabura (hair oil) onto their whole face, cover their eyebrows with hard bintsukeabura, rub face powder paste on their chest, their neck and nape and then spread it with a sponge; then they rub face powder paste on their face and spread it with a sponge, put on red nose shadow, eye shadow, and blusher, apply crimson to the ends of their eyes, paint their eyebrows first with red and then with black, and paint the shape of their lips clearly with a bright red lipstick. 例文帳に追加

娘役や、同年代の恋する男性の役の場合は、洗顔の後、鬢付け油を顔全体にすり込む、眉を硬い鬢付け油で塗りつぶす、胸、首、襟足に練りおしろいを塗り、スポンジで伸ばす、顔に練りおしろいを塗り、スポンジで伸ばす、赤でノーズシャドー、アイシャドー、ほほ紅を差す、目じりに紅を差す、眉を、先ず赤で、続けて黒で描く、真っ赤な口紅を、輪郭をはっきり描く、という具合。 - Wikipedia日英京都関連文書対訳コーパス

In 1964 he directed "Getsuyobi no Yuka" starring photogenic Mariko KAGA which recently became famous, "Ryojin Nikki" (The Hunter's Diary) which was based on the book written by Masako TOGAWA and in which Noboru NAKAYA was stared and played a middle age man who fell into sexual love, "Suna no ue no Shokubutsugun" (Plants in the sand) which was based on the book written by Junnosuke YOSHIYUKI and which was said to be impossible to be made into a film, and "Onna no uzu to fuchi to nagare" (Whirlpool of Women) starring Nakaya and Kazuko INANO one after another, which were experimental unique works illustrating his distinguished talent. 例文帳に追加

昭和39年（1964年）には近年特に有名となったフォトジェニックな加賀まりこの『月曜日のユカ』、性愛にのめり込んで行く中年男性を仲谷昇主演で描く戸川昌子原作『猟人日記』、映画化不可能とまでいわれた吉行淳之介原作『砂の上の植物郡』、同じ仲谷・稲野和子コンビの『おんなの渦と渕と流れ』と立て続けに撮った実験的異色作にも並々ならぬ才気を見せる。 - Wikipedia日英京都関連文書対訳コーパス

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). 例文帳に追加

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 - Wikipedia日英京都関連文書対訳コーパス

Saiichi MARUYA deepened this supposition in a conversation with Sususmu ONO, and argued the following two points:(1) Group b is centered on Utsusemi, Yugao, Suetsumuhana and Tamakazura, and it has a commonality in that these chapters depict the failure of Genji's love;(2) Its writing style is more sophisticated than that of group a, and it has more deepened descriptions, which means after the first part of the group a gained a reputation, group b was written this time to describe the human touch of Hikaru Genji, who was like a perfect hero in the fairy tale (Genji in group a was described as such). 例文帳に追加

丸谷才一は大野晋との対談でこの説をさらに深め、(1)b系は空蝉、夕顔、末摘花、玉鬘を中心に源氏の恋の失敗を描いた帖であることが共通している事、(2)筆がa系よりもこなれており叙述に深みがある事などの点から、a系第一部の評価が高くなったのちに、今度は御伽噺の主人公のように完璧な光源氏（実際にa系の源氏はそう描かれている）の人間味を描くために書かれたのがb系ではないかと述べている。 - Wikipedia日英京都関連文書対訳コーパス

This is same man (Suketomo Kyo), who was once taking shelter from the rain in the gate of To-ji Temple, where there were gathered together many cripples with twisted arms and distorted legs bent backwards. Noting their various peculiar deformities he thought, 'These are all very strange freaks, and are certainly well worth preserving.' But, when he looked at them more closely, he soon lost all pleasure in them and, regarding them as ugly and vile, thought, 'Surely there can be nothing better than the unusual upright form.' So on his return home, his well-loved little trees, which he had collected and carefully trained into queer shapes to make his eyes glad, from that time forth no longer gave him any pleasure; for he felt that to love them was like loving those cripples. Accordingly, he dug up and threw away all his dwarf trees that he had cultivated in little pots. 例文帳に追加

この人、東寺の門に雨宿りせられたりけるに、かたは者どもの集まりゐたるが、手も足もねぢゆがみ、うちかへりて、いづくも不具に異様なるを見て、とりどりにたぐひなき曲者なり、もつとも愛するに足れりと思ひて、まもり給ひけるほどに、やがてその興つきて、見にくく、いぶせく覚えければ、ただすなほに珍しからぬ物にはしかずと思ひて、帰りて後、この間、植木を好みて、異様に曲折あるを求めて目を喜ばしめつるは、かのかたはを愛するなりけりと、興なく覚えければ、鉢に植ゑられける木ども、皆掘り捨てられにけり。 - Wikipedia日英京都関連文書対訳コーパス