中山伝信録 巻二 - 翻刻

翻刻

皇上萬歲中外昇平次頌國王共蒙福祉今當中秋佳
　節天使降臨眞神人共喜之日也謹遵例首唱起神
　歌黃髪老人百拜稽首㳟頌
皇上恩德如天國王帶礪百世老人歌罷拜退次令戚
　臣子弟俊秀者數十人衣彩衣隊隊相續歌太平曲
　以供宴樂云
　先有樂工六人引聲如梵唄音無樂次有戴壽星假
　面一人登塲和之三拜搓手起舞舞畢又三拜止
　次有樂工十四人著雜色紅綠衣帽簷六稜低壓頭
　頂或戴燕尾綠頭巾持樂噐三弦二提琴一《割書：卽用三｜弦着引》
　《割書：弓于｜上》三弦槽柄此中國短半尺許笛一小鑼一鼓二
　登塲前後二行曲跽上向引吭曼聲歌褰幔處有小
　童可十三四歲四人着朱色襪五色長衣無帶開襟
　揺拽頭戴黑皮笠朱纓索曼長垂胸前廻旋而上時
　作顧盼坐起之態登塲一行面樂工小坐樂工代爲
　解笠捲朱纓盤着笠上仍授之小童起立執笠頓足
　按節而舞樂工曼聲歌與相應爲第一遍笠舞　又
　有四小童宮粧剪金扇面作花朶朱帕紫額上有金

現代語訳

皇上万歳、中外升平。次に国王が共に福祉を蒙ることを頌える。今、中秋佳節に当たり、天使が降臨する。まことに神人共に喜ぶ日である。謹んで例に遵い、首めに神歌を唱い起こす。黄髪の老人、百拝稽首して恭しく頌える。
皇上の恩徳は天の如く、国王は帯礪して百世まで続かん。老人が歌い終わって拝退すると、次に戚臣の子弟で俊秀なる者数十人に、彩衣を衣せて隊隊相続かせ、太平曲を歌わせて以て宴楽に供すという。

まず楽工六人があって引声し、梵唄の如き音で楽は無い。次に寿星の仮面を戴いた一人が登場してこれに和し、三拝して手を搓り起舞する。舞い畢わると又三拝して止める。
次に楽工十四人が雑色の紅緑の衣を着、帽の簷は六稜で頭頂を低く圧し、或いは燕尾の緑頭巾を戴く。楽器を持つ。三弦二、提琴一《割書：即ち三弦を用いて弓を上に着く》、三弦の槽柄は中国より短く半尺許り、笛一、小鑼一、鼓二。
登場して前後二行に曲跽上向し、引吭曼声にて歌う。褰幔の処に小童十三四歳ばかり四人あり、朱色の襪、五色の長衣を着、帯無く開襟で揺拽す。頭には黒皮笠を戴き、朱纓の索は曼長にして胸前に垂れ、廻旋して上がる時、時に顧盼坐起の態を作す。登場して一行に楽工と面し小坐す。楽工が代わりに笠を解き朱纓を捲いて笠上に盤着し、仍ってこれを授ける。小童起立して笠を執り、頓足按節して舞う。楽工の曼声歌とこれに相応じて第一遍笠舞と為す。又
四小童あり、宮粧にて金を剪んで扇面と作し花朶と作す。朱帕紫額の上に金あり

英語訳

Long live the Emperor, peace throughout the realm and beyond. Next they praised that the king would jointly receive blessings. Now, during this auspicious Mid-Autumn Festival, the imperial envoys have descended. This is truly a day when gods and humans rejoice together. Respectfully following precedent, they first raised divine songs. The white-haired old man bowed a hundred times and respectfully chanted praises.
The Emperor's benevolent virtue is like heaven, may the king's reign endure for a hundred generations like mountains and rivers. When the old man finished singing and withdrew with bows, next several dozen talented young men from noble families were dressed in colorful robes and arranged in successive groups to sing songs of great peace to provide entertainment for the banquet.

First, six musicians led with their voices, sounding like Buddhist chants without instrumental music. Next, one person wearing a Longevity Star mask appeared on stage to harmonize with them, bowing three times, rubbing his hands together, and beginning to dance. When the dance ended, he bowed three times again and stopped.
Next, fourteen musicians wearing variegated red and green robes, with six-ridged hat brims pressed low over their heads, or wearing swallow-tail green headwraps, held musical instruments: two sanxian, one huqin 《marginal note: using sanxian with bow attached above》, the body and neck of the sanxian about half a chi shorter than those in China, one flute, one small gong, two drums.
They appeared on stage in two rows front and back, kneeling and facing upward, singing with extended voices in slow melodies. At the curtained area, there were four young boys about thirteen or fourteen years old, wearing vermillion socks and five-colored long robes without sashes, open at the front and swaying. On their heads they wore black leather caps with vermillion tassels hanging long down their chests. When spinning and rising, they would occasionally make gestures of looking around and sitting up. They appeared on stage in one row facing the musicians and sat briefly. The musicians helped remove their caps, rolled up the vermillion tassels and coiled them on the caps, then handed them back. The young boys stood up, held their caps, stamped their feet in rhythm and danced. The musicians' slow singing harmonized with this to form the first round of the "Cap Dance." Also,
there were four more young boys in court costume, with gold cut into fan shapes and flower patterns. Above their vermillion headbands and purple foreheads was gold