Asano Fengxu - Asano Hyokyou

...However, in the 20th century, more attention has been paid to the motifs of the play as a whole and the structural principles of the drama, such as "the play of forced situations" and "the play of power and hereditary succession," rather than to character criticism. In the early days of its introduction to Japan, partial translations by Toyama Shoichi and Yatabe Ryokichi (both included in Shintai Shisho (1882)) and an adaptation by Kanagaki Robun called "Hamlet Yamatonishikie (1886)" were attempted in the mid-Meiji period, but a complete translation was not made until the joint translation by Tozawa Koya (Shoho) and Asano Fengxiong (Wasaburo) (1905), followed by Tsubouchi Shoyo's translation (1909). Shoyo himself recalled that the first edition of his translation was intended to be suitable for live performances, and the lyrics were in the Kabuki style and in 7-5 rhythm. ...

*Some of the terminology explanations that mention "Asano Fengxu" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…しかし20世紀に入ると，こうした性格批評よりも，〈強いられた状況の劇〉〈権力と世襲との劇〉など，劇全体のモティーフやドラマの構造原理に，より大きな関心が払われることが多い。　日本への初期の移入では，明治半ばに外山正一や矢田部良吉による部分訳(いずれも《新体詩抄》(1882)所収)，仮名垣魯文による翻案《葉武列土倭錦絵（ハムレツトやまとにしきえ）》(1886)などが試みられたが，完訳は戸沢姑射（こや）(正保)と浅野馮虚（ひようきよ）(和三郎)の共訳(1905)，それに続く坪内逍遥訳(1909)以降である。逍遥訳初版は，もっぱら実演に便宜なように企図したため，訳詞が歌舞伎式，七五調となったと彼自身述懐している。…

※「浅野馮虚」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報