The Database of an Abridged Book of Suiko-ki owned by the Theatre Museum
General overview of this Database
This database consists of a full translation of an abridged book of Suiko-ki (Classical Chinese novel) owned by the Theatre Museum.
The most unique characteristics of the Suiko-ki owned by the Theatre Museum is that it is Japanese translation-oriented; that is, each original text has its corresponding Japanese translation side-by-side, thereby making it a significantly important work in the history of Chinese-Japanese translation in early modern Japan. This database is an attempt to show its importance. You can search for every text printed in this translation of Suiko-ki, but its primary purpose is to clarify to which original text a Japanese translation corresponds. Sometimes it may especially be difficult to search for an original text, but we will try to solve this problem when improving the performance of this database.
(The data was created on March 31, 2010.)

This database is part of the result of the research conducted by Yumi Okazaki (Waseda University), (Institute of the Chinese Classic of Sun Yat-sen University), and Toshinori Ban (Waseda University). This research is supported by the Ministery of Education, Culture, Sports, Science, and Technology.
Explanatory Notes
This book is an abridged book of Kansai-daigaku-bon previously owned by the then president of Kansai University, Nagasawa who published ӿųܡؿ with a translation, guiding marks for rendering Chinese into Japanese, and annotations. Besides this translation, there is Yamaguchi-daigaku-bon as the original text of Suiko-ki.
According to the records in ܽܡ (Genroku 14) or ֵϿ, the original text was printed in ر(ܽܡ٤ˤϡؽ ٤ȵܡ¨ϻʡ which was introduced to Japan in the middle period of the Edo era, and it is thought to have been lost after it was located in the Seisoku-do of Moritsugu Mori (the Tokuyama Domain).
In addition, the Japanese translation attached to the text was renewed several times by correcting mistranslations or expressions, so the translation seems to have been carefully revised.
Yamaguchi-daigaku-bon was a manuscript created during the process of making a translation of Kansai-daigaku-bon, the translation for the most part matches with the one before it was rewritten in Kansai-daigaku-bon. Judging from this, first, a shortened book of Yamaguchi-daigaku-bon was created, and on the basis of it the Japanese translation, etc. were copied into Kansai-daigaku-bon. During its process the Japanese translation was renewed many times, and eventually its clean copy was put into an abridged book which is now Enpaku-bon.
For this reason, among the three translations Enpaku-bon is most sophisticated. Although it is not clear exactly when the translation was made, it is undoubtedly during the Edo period when the Japanese translation was revised many times, given that Yamaguchi-daigaku-bon was located in the Seisoku-do of Moritsugu Mori.
But if we consider that, except for the explanations for , there is a lot of mistranslations especially in ξ, it seems that the translator(s) understood the concept of in Chinese opera, but lacked knowledge of or which was not used particularly inſ. There are mistakes both in ̶ and , but we find more in .
was offered to Waseda University by Shoyo Tsubouchi and was transferred to the Theatre Museum in 1929.

Characteristics of Japanese translation
It is not clear who is the translator, but the translation is valuable and of great importance by itself.
The translation is based on Kun-yaku which puts both guiding marks and kana, but also prints a corresponding Japanese translation by an original sentence. What is noteworthy is that the Japanese translation is a full translation of the original text.

(written by Toshinori Ban)