Lyrics: 大正メリイゴオランド

Taishou Merry-go-Round by Moja stick
Featured in: mmm (2013 album) 群雄割拠のモジャ時代 大正メリイゴオランド taishou merigorando length: 02:32 arrangement: 田中じゅんじろー vocals: 田中じゅんじろー original title: 厄神様の通り道　～ Dark Road source: 東方風神録　～ Mountain of Faith Stage 2 Theme
Additional Info
A promotional video was created for the arrangement and can be viewed here on niconico.
Original	Romanized	Translation
煌くネオン 夜雑踏 見せ物客云う 「見飽きた演目」 今日日座頭も剣は捨てたと いうのに	kirameku neon yoru zattou mise monokyaku wa iu mia kita enmoku kyoubi zatou mo ken wa suteta to iu no ni	glittering neon, nighttime crowds sightseers who say: “i’m tired of watching this play” nowadays blind men have discarded their swords it’s such a shame
開いた音 終ぞ聞こえず 殴られ損の憂鬱 皆々同様月夜眺め 瞼を濡らし寝入る	hira ita oto tsui zo kikoezu nagurare non no yuu uu minamina douyou tsukiyo nagame mabuta wo nurashi neiru	the opening sound, never to be heard i’m struck with the melancholy of loss everyone looks identical in the moonlit night my eyelids are soaked as i fall asleep
未来はきっと無為を赦さず 疲れを抱えている 次第にや耄碌悔いの嗚咽 そんなビジョンが見える	mirai wa kitto mui wo yurusazu tsukare wo kakaete iru shidai niya mouroku kui no oetsu sonna vision ga mieru	the future surely allows idleness weariness is embraced gradually weakening, filled with sobbing regret a vision i can see
生きているのか死んでいるのか ぬるまったソーダを飲んだような やる気のない炭酸だけが 人々を刺激している感覚だ 嗚呼もうずっと前から そこいらの機械のが上手くやれてて ならば多分自分自身の価値すら 答えられなくなってんだろうな	ikite iru no ka shinde iru no ka nuru matta soda wo nonda you na yaruki no nai tansan dake ga hitobito wo shigeki shite iru kankaku da aa mou zutto mae kara soko ira no kikai no ga umaku yaretete naraba tabun jibunjishin no kachi sura kotaerare naku natten darou na	am i alive? am i dying? i felt as if i had drank warm soda inconvenient carbonic acid everyone’s feeling a sense of motivation ah, it’s been so long instruments from a certain place, expertly played if it was me playing, perhaps even i would have some value i guess i’ll never know the answer to that
核を落とした人の列 役を見つけた帰途の列 絶えず行き交うその境で	kaku wo otoshita hito no retsu yaku wo mitsuketa kito no retsu taezu iki kau sono sakai de	a nuclear bomb dropped on rows of people where i found my role in society when i returned from the borders, constantly coming and going
目もまわるような忙し日々 心を亡くしたら あいやしばらく間 踊りやんせ そういう役回り	memo mawaru you na sewashi hibi kokoro wo nakushitara a iya shibaraku ma odoriyan se sou iu yaku mawari	my eyes are always spinning, i’m restless everyday when i lose heart… ah, no, it’s been so long since we were this close; we’ll dance and dance such is your role
己が舞台と続けども 歯車は削れて はたと揃って放り出す 「とうとう壊れたようだ」	ono ga butai to tsuzu kedomo haguruma wa kezurete hatato sorotte houridasu “toutou kowareta you da”	even when i continue on stage the cogs are being cut away suddenly you throw me out altogether “it seems like you’re finally broken”
Lyrics source: Translation by yumehologram
Translation Notes 役 (“yaku”) in the song is used as a means of expressing the speaker’s place in society, their so called “role”. the kanji, read as 役 (eki) can mean a war, or battle, a fitting double entendre, considering the allusions to the bombs in the previous line. It’s also a fairly obvious wordplay on 厄 (also read “yaku”), misfortune. 己 (“onore”), meaning literally, “self”, is a term that, apparently, is rooted in Osaka dialect. It can be deemed disrespectful if used speaking to someone else, but it is also a preferred pronoun in buddhist writing for oneself, meant to humble. This is the only time a reference to the subject of the song is made. It is a little difficult to gauge the perspective of this song, whether it’s a sole speaker, whether it shifts from the speaker to Hina, or even the idea that Hina and the “speaker” are one in the same. The Taishō era in japan is associated with a lot of things; modernization (in due part to shifts in the foreign policy) and a harsh sociopolitical environment as the country built itself up to war, falling back to imperialist notions and pro-war politics. The former idea, modernization, pertains a bit to Hina; she really seems like a Taishō -era sort of girl, wearing a western dress in the primarily Edo-ish setting of Gensokyo. The latter is much more pertinent to the song; embodying a sort of disenchanted confusion common between many of the lines: being between dead and alive, blind men having discarded their swords and such a fact being an utter shame.