翻刻
能装束無指支数多有之作之人を不雇一家
中限りにて能番囃子等役者相揃中には有
名にて多賀谷六郎兵衛等は外宅片町に住居今加賀谷罷在
門人夥敷居宅も舞台仕掛にて隆盛指南せり
右様之次第故江戸往来之節も一通之能具持
参せられしやある時御家老にて交代相模
参勤之節大井川数日之川留に而大小之諸
侯方交代を初幕府之吏員幷公私往
来之旅客両岸之宿駅は勿論近隣之
在家迄充満して逗留各退屈之折柄
金谷駅旅宿におゐて能具取出召連之
家来限りに而一日能興行せられしかば右滞泊
之人々表裏も群衆見物して右即興之趣向は
扨置総而之事々を想像皆々評判して感
心せりとなり右世体之風習よりして夫々有
名之先生漸々請継自宅之興行番囃子
寺院をかりて能狂言年々頻に盛成しが
嘉永安政之比より追々変化之時態に従ひ
次第に衰頽之形勢となり夫々引替芸妓之
繁昌呼て楽しむは当然之業なるも種々に
現代語訳
能装束は差し支えなく数多くあり、作り物の人を雇わず一家中限りで能番囃子等の役者が相揃い、中には有名な者もいて、多賀谷六郎兵衛等は外宅片町に住居し、今は加賀谷と名乗っているが、門人が夥しく、居宅も舞台仕掛けにて隆盛に指南していた。
右様の次第故、江戸往来の節も一通りの能具を持参されていた。ある時、御家老にて交代で相模へ参勤の節、大井川で数日の川留めとなり、大小の諸侯方の交代を初め、幕府の吏員並びに公私往来の旅客で、両岸の宿駅は勿論、近隣の在家まで充満して逗留し、各々退屈していた折、
金谷駅の旅宿において能具を取り出し、召し連れの家来限りで一日能興行をされたところ、右に滞泊の人々が表裏も群衆見物して、右即興の趣向は扱き置き、総ての事を想像し皆々評判して感心したということである。右の世体の風習よりして、それぞれ有名の先生が漸々講を継ぎ、自宅の興行、番囃子、寺院を借りて能狂言を年々頻りに盛んにしたが、
嘉永安政の頃より追々変化の時態に従い、次第に衰退の形勢となり、それぞれ引き替え、芸妓の繁昌を呼んで楽しむのは当然の業であるが、種々に
英語訳
Noh costumes were available in abundance without any shortage, and without hiring professional performers, the household members alone could assemble a complete cast for Noh performances and musical accompaniment. Among them were famous practitioners, such as Tagaya Rokurōbei and others who resided in outer residences in Katamachi. Now going by the name Kagaya, he had numerous disciples, and his residence was equipped with a stage where he prosperously conducted instruction.
Due to such circumstances, when traveling to and from Edo, they would bring along a full set of Noh equipment. On one occasion, when a senior retainer was traveling to Sagami for the alternate attendance system, the Ōi River was closed for several days due to high water. Daimyo of all ranks performing their alternate attendance, shogunal officials, and travelers on both official and private business filled not only the post stations on both banks but even the nearby farmhouses, and everyone was becoming restless during their stay.
At an inn in Kanaya station, they brought out their Noh equipment and, with only their accompanying retainers, held a day-long Noh performance. The people staying there crowded around to watch from both inside and outside the inn. Setting aside this improvised entertainment, everyone imagined all sorts of things, discussed it with great admiration, and were deeply impressed. From this kind of social custom, various renowned masters gradually took over instruction, holding performances in their homes, ensemble music sessions, and borrowing temple grounds for Noh and kyōgen plays, which flourished increasingly year after year.
However, from around the Kaei-Ansei period (1848-1860), following the gradual changes of the times, the situation gradually turned toward decline. In their place, it became natural business to call upon and enjoy the prosperity of geisha, but in various ways