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父の怪談

by Kidō Okamoto

When his turn comes, the narrator retells his father’s ghost story.

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Original language: JapaneseLevel: Intermediate3,532 characters · ≈ 14 minSource: 青空文库

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Sample: three-line reading

Each word has its meaning in this sentence underneath, and each sentence has a full translation. Read the original and glance down only when you need to.

今度はthis time / nowわたしのmy番になったbecame (my) turn
Now it was my turn.
席順seating orderであるis (copula, formal)からbecause / since致し方がないthere is no help for it; it can't be helped
Since it was the seating order, there was no help for it.
しかしhowever私にはfor me / as for me適当なsuitable材料のmaterial's / of material持ち合わせがないhave nothing on handのでsince / becauseかつてonce / formerly父からfrom my father聴かされたwas made to hear / had been heard二三種のtwo or three kinds of怪談めいたghost-story-like小話をshort tales (object)ぽつぽつとone after another / bit by bit弁じてtold / related (and)わずかにbarely / only slightly当夜のof that night責任をresponsibility (object)逃がれるescapeこととしたdecided to / made it that
But since I had no good material ready, I told a few ghost-like short stories I had once heard from my father, and just barely escaped my duty for the night.
父はmy father (topic)天保五年の生まれでborn in the fifth year of Tenpo, andその二十一歳の夏the summer of that twenty-first year安政元年のことであるit was in the first year of Ansei
My father was born in the fifth year of Tenpo, and it was the summer of his twenty-first year, in the first year of Ansei.

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About the book

When it is the narrator's turn to tell a ghost story at a gathering, he recounts a strange episode his father once described: frogs swarming into a daimyo's residence in Azabu, then vanishing overnight, followed by small stones quietly falling from the ceilings with no cause ever found. The storytelling is unhurried and matter-of-fact, building a quiet, creeping unease as one mystery gives way to the next.

Cultural notes (selection)

Background a translation can’t carry: social roles, history and allusions. While reading, tap “Note” at the end of a sentence to see them all.

下屋敷 History

A secondary residence maintained by an Edo-period daimyo family in Edo, in contrast to the "shimo-yashiki" where the lord formally resided. These lower residences typically occupied spacious grounds with lush gardens and trees, and were used for retirement or as summer retreats.

お部屋さまであった婦人が切髪になって Social role

"O-heya-sama" referred to a concubine who had won the lord's favor, borne him children, or been granted a private room of her own; her standing was above that of ordinary maidservants. "Tekihatsu" (cutting the hair short) was the mark of a samurai-class woman who, after her husband's or lord's death, had taken vows as a widow to pray for the deceased.

夜詰 Customs

An all-night watch kept in rotating shifts at suspicious places or key security points in the Edo period. Here it refers to the domain's samurai taking turns mounting an all-night guard over the study where the falling stones occurred. Since this was official domain business, the narrator's father, an outsider, could only join through the good offices of an acquaintance.

About the author

Kidō Okamoto (October 15, 1872 – March 1, 1939) was a Japanese author and playwright whose real name was Keiji Okamoto; he was born in the Shiba Takanawa district of Minato Ward, Tokyo. His best known work is the shin kabuki play Bancho Sarayashiki.

How the glosses are made

Word glosses and sentence translations are generated in context by AI models (DeepSeek and Zhipu GLM), and every word is checked to have a gloss. AI can make mistakes; you can report problems from the book page.

FAQ

Is this the original text?

Yes. The library holds the opening section of the public-domain original, taken from 青空文库.

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What level is it?

This one is marked “Intermediate”. Every word is glossed, so you can keep reading even with a small vocabulary.

Can I use another gloss language?

English and Chinese glosses are prepared in advance; signed-in readers can generate other languages.

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