翻刻
《箱：つゞき》今は
はやかなふまじ
いざ〳〵しろを
あけわたし
いづくへなりとも
おちゆくべしと
きやくも
あるじもいつとうに
風にこのはのちる
ごとくむら〳〵ぱつと
にげちつたるかと
おもへば竹庵が
ゆめはさめぬ
かゝりしのちは竹
あんもせんき一通りには
右のせんしやくとうを
もちひてしよにんを
こゝろみるに万人に
一人も治せずといふ
ことなかりければ
思ひのほかの金
ぎんをえてめでたき
はるをむかへけるぞ
めでたし〳〵〳〵
〇書林永寿堂新刻目録 《割書：江戸馬喰町二丁目角》
西村屋興八
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今様（いまやう）櫛（くし）𬕮（きせる）雛形（ひながた）《割書：前北斎為一先生画｜中本全三冊 》 《割書：櫛のまきゑきせるの彫となるべき絵様を｜品ゝ書れたれば御二品にかぎらず画習ふ人は｜更也すべて雅品を製するものゝ手本と成べし》
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百橋一覧（ひやくきゅういちらん）《割書：右同画｜一枚摺》《割書：百有余の橋かたち皆｜異にして目なれざる様を｜一枚に書つらねたる｜いとめづらしき図画也》寿百人一首操鑑（ことぶきひやくにんいつしゆみさほかゞみ）《割書：女用文章｜ 中本一冊｜女手習状入》
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即考百籤（そつかうひやくせん）《割書：中本｜一冊》《割書：これはいともたふときうら｜かたの書なれば人ゝ誠心｜をいれうらなひ給はヽ｜すべてのこと的然なり》《割書：懐中｜早引》寺子節用集（てらこせつようしふ）《割書：早引の書数多有といへ共｜大冊にして懐中に便ならず｜此書は日用の要語を撰み｜童豪の懐宝に備ふ》》
《割書：小本一冊》
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《割書：日光｜道中》里程便覧（りていべんらん）《割書：一｜枚｜摺》《割書：紅毛諸道里数の図に｜ならひて一覧にして｜見安らしむ三街道｜の分は色わけをもて｜これをわかたしむ》 《割書：早操｜自在》日光道中記（にちくわうどうちうき）《割書：日光四海道宿次問屋駄｜賃等こと〴〵く改め是道のり｜かしこへ何里こゝへ何里とたち｜まちくり出し見安らしむ》
《割書：一枚摺》
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初心手学抄（しよしんしゆがくせう） 《割書：蓮池堂先生書｜ 大字手本向｜ 大本《割書：一冊》》 《割書：諸民｜通用》手紙之文言（てがみのもんごん）《割書：松蘿堂先生書｜ 中本一冊｜此度再板》
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《割書：御｜家｜流》手紙之文言後集（てがみのもんごんこうしふ）《割書：蓮池堂先生書｜中本一冊》《割書：これ迄ひさく所の文言は平世日用之俗事を達するを専と｜せり故に大に世に行はれ今文政七申年まで飜刻四度に｜及べり然るに近年都鄙となくその文体の雅なるを好み｜その法式のとゝとのはざるを憂ふ因て斯に先生に就て改｜正し野鄙の辞を用ず専ら風雅の体を備ふ尤右座の書也》
現代語訳
## 【本文】
《箱：つづき》
「今はもはや、かないますまい。さあさあ、城を明け渡し、いずくへなりとも落ちゆくべし」と、客も主も一統（いっとう）に、風に木の葉の散るごとく、むらむらとぱっと逃げ散ったかと思えば、竹庵の夢は覚めぬ。
かかりし（携わりし）のちは、竹庵も疝気（せんき）一通りには、右の疝癪湯（せんしゃくとう）を用いて諸人を試みるに、万人に一人も治せずということなかりければ、思いのほかの金銀を得て、めでたき春を迎えけるぞ。
**めでたし、めでたし、めでたし。**
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## 【書林永寿堂新刻目録】
《江戸馬喰町二丁目角 西村屋興八》
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**今様（いまよう）櫛（くし）煙管（きせる）雛形（ひながた）**
《前北斎為一先生画 中本全三冊》
《櫛の蒔絵、煙管の彫りとなるべき絵様を、品々書かれたれば、御二品に限らず、画を習う人はさらなり、すべて雅品を製するものの手本となるべし。》
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**百橋一覧（ひゃくきゅういちらん）**
《右同画 一枚摺》
《百有余の橋の形、みな異にして、目慣れざる様を、一枚に書き連ねたる、いとめずらしき図画なり。》
**寿百人一首操鑑（ことぶきひゃくにんいっしゅみさおかがみ）**
《女用文章 中本一冊 女手習状入》
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**即考百籤（そっこうひゃくせん）**
《中本一冊》
《これはいともたっとき占い方の書なれば、人々誠心を入れ占い給わば、すべてのこと的然（てきぜん）なり。》
《懐中早引》**寺子節用集（てらこせつようしゅう）**
《早引きの書、数多有りといえども、大冊にして懐中に便ならず。この書は日用の要語を選み、童蒙（どうもう）の懐宝に備う。》
《小本一冊》
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《日光道中》**里程便覧（りていべんらん）**
《一枚摺》
《紅毛（オランダ）諸道里数の図にならいて、一覧にして見やすからしむ。三街道の分は色分けをもってこれを分かたしむ。》
《早操自在》**日光道中記（にっこうどうちゅうき）**
《日光四海道宿次問屋駄賃等ことごとく改め、この道のり、かしこへ何里、ここへ何里と、たちまち繰り出し見やすからしむ。》
《一枚摺》
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**初心手学抄（しょしんしゅがくしょう）**
《蓮池堂先生書 大字手本向 大本一冊》
《諸民通用》**手紙之文言（てがみのもんごん）**
《松蘿堂先生書 中本一冊 此度再板》
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《御家流》**手紙之文言後集（てがみのもんごんこうしゅう）**
《蓮池堂先生書 中本一冊》
《これまで久しく所の文言は、平世日用の俗事を達するを専らとせり。故に大いに世に行われ、今文政七申年まで翻刻四度に及べり。しかるに近年、都鄙となくその文体の雅なるを好み、その法式の整わざるを憂う。因ってここに先生に就いて改正し、野鄙の辞を用いず、専ら風雅の体を備う。尤も右座の書なり。》
英語訳
## 【Main Text】
*《Box: Continued》*
"There is no fighting it any longer! Come, come — let us surrender the castle and flee wherever we may!" And with that, guests and host alike — all as one — scattered like leaves blown by the wind, vanishing in a flash in every direction. Or so it seemed... for in truth, Chikuan's dream had not yet ended.
From that time forward, Chikuan too — when it came to *senki* (abdominal complaints) of any kind — made use of the aforementioned Senshaku Decoction (*Senshaku-tō*) to treat all manner of people, and there was not a single person among ten thousand whom he could not cure. Thus he gained far more gold and silver than he had ever expected, and welcomed a most auspicious spring.
**How fortunate! How fortunate! How fortunate!**
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## 【New Catalog of Titles from the Eijudō Bookshop】
*Edo, Bakurochō 2-chōme corner — Nishimuraya Kōhachi*
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**Imayō Kushi Kiseru Hinakata** (Modern Designs for Combs and Pipes)
*Illustrated by the former Hokusai Iitsu; 3 volumes, medium format*
The design patterns suitable for lacquerwork on combs and for engraving on pipes are depicted in great variety. These designs are not limited in their use to these two objects alone — they will serve as model examples for anyone studying painting, and indeed for all who craft objects of refined taste.
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**Hyakkyū Ichiran** (A Survey of One Hundred Bridges)
*Illustrated by the same artist; single-sheet print*
The forms of more than one hundred bridges are each drawn differently, capturing appearances unfamiliar to the eye, all laid out on a single sheet — a truly remarkable pictorial work.
**Kotobuki Hyakunin Isshu Misao Kagami** (The Mirror of Virtue: One Hundred Poems for Longevity)
*Letter-writing guide for women; 1 volume, medium format; includes women's handwriting practice letters*
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**Sokkō Hyakusen** (Instant Oracle: One Hundred Lots)
*1 volume, medium format*
This is a most venerable book of divination; if one casts lots with sincerity of heart, all matters will be revealed with perfect clarity.
*Pocket Quick-Reference* — **Terako Setsuyōshū** (Children's Pocket Glossary)
There are many quick-reference books available, but most are too large to carry conveniently. This book selects the essential words of daily life, and is provided as a pocket treasure for children and learners.
*1 volume, small format*
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*Nikkō Highway* — **Ritei Benran** (A Handy Guide to Road Distances)
*Single-sheet print*
Modeled on Dutch-style maps showing distances along various roads, this sheet allows the reader to view all at a glance. The three highways are distinguished by color-coding for easy reference.
*Quick and Easy* — **Nikkō Dōchūki** (A Record of the Nikkō Highway)
All post-stations, forwarding agents (*toiya*), and horse-hire fees (*chin*) along the four routes to Nikkō have been thoroughly revised; the distances from here to there and from there to here are laid out instantly for easy reading.
*Single-sheet print*
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**Shoshin Shugaku Shō** (A Primer for Calligraphy Beginners)
*Calligraphy by Renchidō-sensei; large-character model for learners; 1 volume, large format*
*For Common Use by All* — **Tegami no Mongon** (Phrases for Letter-Writing)
*Calligraphy by Shōradō-sensei; 1 volume, medium format; newly reprinted this edition*
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*御家流 (Oie-ryū style)* — **Tegami no Mongon Kōshū** (Phrases for Letter-Writing: Sequel Volume)
*Calligraphy by Renchidō-sensei; 1 volume, medium format*
The letter-phrases published over many years past were devoted chiefly to conveying the mundane affairs of everyday life in ordinary times. For this reason, the work has enjoyed widespread circulation, having been reprinted four times up to the present seventh year of Bunsei (1824). However, in recent years, people in both the capital and the provinces have come to favor elegance of style, and there has been much concern that proper forms and conventions are not being adequately observed. Therefore, working directly with the teacher, revisions have been made: vulgar and rustic expressions have been set aside, and the work is now thoroughly furnished with a refined and elegant style. It is indeed a work of the highest distinction.