翻刻
を被下年中定例之御式は勿論臨時御大礼
等には必御能有之別而
将軍 宣下之節は御府内庶民混同拝
見被仰付町々組々一纏と各旗を立酒肴弁
当を携へ思ひ〳〵異様之姿に而暁未明ゟ登
城終而歓楽夜に入高挑灯にて引取れり
右当日は尾羽きゝ【？】の御役人を見掛けて呼わり
不礼の挙動あるも総而御構ひ無之旧例又
勅使御下向之節は御逗留中に一日能興行
御饗応有之
右は江戸之事此表に而も旧藩御祝事御式
之節は町方身元相応に而心得有之者へ御祝言
謡被仰付相勤然る処文化文政之頃
威徳公御代格別御執心に而喜多流御学
四曲之内太皷を被遊御側向之面々は勿論外様
に而も得手有之族は御相手に被出依而夫々流派之
違ひはあるも上下一般之流行と成謡囃子舞
一手も心得なきもの世間交りも出来ぬ様之
心地せり又大身之内にも芦田家抔は舞台
仕掛之屋敷等も有之別而大狛家は重宝の
現代語訳
を下され、年中定例の御式は勿論、臨時御大礼等には必ず御能があり、別して将軍宣下の節は、御府内庶民混同で拝見を仰せ付けられ、町々組々一纏まりとなって各々旗を立て、酒肴弁当を携え、思い思いの異様な姿で暁未明より登城し、終わって歓楽夜に入り、高提灯にて引き取った。
右当日は、尾羽打ち枯らしの御役人を見掛けて呼ばわり、不礼の挙動があっても総て御構い無しの旧例であった。また勅使御下向の節は、御逗留中に一日能興行の御饗応があった。
右は江戸のことで、此の表（福井）においても、旧藩御祝事御式の節は、町方で身元相応にて心得ある者へ御祝言謡を仰せ付けられ相勤めた。然る処、文化文政の頃、威徳公御代に格別御執心にて喜多流を御学び、四曲の内太鼓を遊ばされ、御側向の面々は勿論、外様にても得手ある族は御相手に出された。依って、それぞれ流派の違いはあるも、上下一般の流行となり、謡囃子舞の一手も心得なき者は世間交わりも出来ぬ様の心地がした。また大身の内にも芦田家などは舞台仕掛けの屋敷等もあり、別して大狛家は重宝の
英語訳
were granted, and for the regular annual ceremonies as well as special grand ceremonies, Noh performances were always held. Particularly during the investiture ceremonies of shoguns, commoners from throughout Edo were permitted to observe together. Each neighborhood and group would unite, raise their respective banners, carry sake, food, and lunch boxes, dress in their own unique costumes, and arrive at the castle before dawn. After the ceremonies concluded, they would celebrate into the night and return home with tall paper lanterns.
On such days, it was an old custom that even if people called out to disheveled officials they encountered and behaved rudely, there would be no official reprimand. Also, when imperial envoys came down from the capital, Noh performances would be held as entertainment during their stay.
The above concerns Edo. In this domain (Fukui) as well, during celebratory occasions and ceremonies of the former han, townspeople of appropriate standing and knowledge were commanded to perform celebratory utai chanting. During the Bunka-Bunsei period (1804-1830), under Lord Itoku's reign, there was particular devotion to learning the Kita school, and he practiced the taiko drum among the four musical parts. Not only his close attendants but also outsiders with skill were called upon as his partners. Therefore, although there were differences in schools, it became a general trend among high and low alike, and those who could not perform even one piece of utai, hayashi music, or dance felt as though they could not properly socialize. Among the high-ranking families, houses like the Ashida family had stages and theatrical equipment, and particularly the Ōkoma family had treasured