和伽名の英語

1941年（昭和16年）4月歌舞伎座で『伽羅先代萩』の鶴千代、『高時』泰松で四代目澤村由次郎を名乗り初舞台。例文帳に追加

He made his first appearance on stage at Kabukiza theater in April of 1941, performing as Tsuruchiyo in "Meibokusendaihagi" (The Trouble in the Date Clan) and as Yasumatsu of "Takatoki" by the name, Yujiro SAWAMURA IV.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

だが、その構造に差異はあっても、「多分の理」・「多分の評定」と呼ばれる無記名の多数決原理（「任道理就多分」）が必要とされ、僧伽以来の「一味和合」の精神を重要視した。例文帳に追加

However, even though the structure differed, 'nindorishutabun' (anonymous majority rule) called 'tabun no ri' (majority rule) and 'tabun no hyotei' (majority rule) was necessary and the spirit of 'Ichimi Wago' (Mingle together in One) from sangha was emphasized.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

仏教書・和歌・軍書・古典の注釈書などを著す一方、「堪忍記」「可笑記評判」「東海道名所記」「本朝女鑑」など多岐にわたる著作を行い、1666年（寛文6年）に刊行された「御伽婢子（おとぎぼうこ）」は怪奇物の祖として後世に大きな影響を与えた。例文帳に追加

He not only wrote annotations on Buddhism, Waka, Military strategy and Classics, but also various works such as 'Kannin ki' (The Record of Patience), 'Kashoki Hyoban' (The Record of Amusing Rumors), 'Tokaido meisho no ki' (Famous places along Tokaido Road), and 'Honcho jokan' (Mirror of Japanese Women), and 'Otogiboko' (A Charm Doll) published in 1666 influenced later generations as the forerunner of horror stories.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

歌右衛門生涯の当たり役は非常に多く、『京鹿子娘道成寺』の白拍子花子、『籠釣瓶花街酔醒（籠釣瓶）』の八つ橋、『祗園祭礼信仰記（金閣寺）』の雪姫、『鎌倉三代記・絹川村』の時姫、『本朝廿四孝・十種香』の八重垣姫、『東海道四谷怪談』のお岩、『妹背山婦女庭訓（妹背山）』の定高、お三輪、『沓手鳥孤城落月（孤城落月）』の淀君、『仮名手本忠臣蔵・九段目』の戸無瀬、『積恋雪関扉（関の扉）』の小町と墨染、『恋飛脚大和往来・新口村』の梅川、『攝州合邦辻・合邦庵室』の玉手御前、『伽羅先代萩』の政岡、『鏡山旧錦絵（鏡山）』の尾上、『隅田川続俤（隅田川）』の班女など、娘形から姫、片はずし、傾城に至るまで、あらゆる女形の領域をこなした。例文帳に追加

Utaemon performed many successful characters in his lifetime, and those were Shirabyoshi (women who play Shirabyoshi (Japanese traditional dance)) Hanako of "Kyo Kanokomusume Dojoji" (The maiden at Dojo Temple), Yatsuhashi of "Kago Tsurube Satono Eizame" (Basket bucket in red-light district), Yukihime of "Gion Sairei Shinkoki" (The Gion Festival Chronicle of Faith)(Kinkaku-ji Temple), Tokihime of "Kamakura Sandaiki, Kinugawa-mura" (Three Generations of the Kamakura Shogunate in Kinugawa Village), Yaegaki-hime of "Honcho Niju-shi ko, Jusshuko" (24 Paragons of Filial Piety of our Country, Incense Burning), "Oiwa of "Tokaido Yotsuya Kaidan" (Tokaido Yotsuya Ghost Stories), Sadaka and Omiwa of "Imoseyama Onna Teikin" (An Exemplary Tale of Womanly Virtue in Mt. Imose), Yodogimi of "Hototogisu Kojo no Rakugetsu" (The Sinking Moon over the Lonely Castle Where the Cuckoo Cries), Tonase of "Kanadehon Chushingura, Kudanme" (The Treasury of Loyal Retainers, 9th act), Komachi and Sumizome of "Tsumoru Koiyuki no Seki no To" (The Barrier Gate), Umegawa of "Koibikyaku Yamato Orai, Ninokuchi-mura" (The Amorous Courier on the Yamato Highway, Ninokuchi Village), Tamate-Gozen of "Gappo Anjitsu (hermitage of Gappo), Sesshu Gappo ga Tsuji (A Kabuki Drama of Unfettered Evil)," Masaoka of "Meiboku Sendai Hagi" (The trouble in the Date Clan), Onoue of "Kagamiyama Kokyo no Nishikie" (old brocade pictures of Mt. Kagami), Hanjo of "Sumida-gawa Gonichi no Omokage" (Latter-day Reflections of the Sumida-gawa River), and he acted many types of female roles, such as a daughter, princess, Katahazushi (female role of nyobo (a court lady) of a samurai family or goten jochu (palace maid)), and keisei (courtesans with high dignity and literacy).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス