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本帖被 若梨花白。 从 影视天地 移动到本区(2012-06-19)
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龟梨和也果真妖艳，这个MV非常强大，无论是表演内容还是舞台设计，都极尽华美，震撼人心另附一篇在某一论坛看到的有关《1582》的分析，LZ原文如下如下：
这是一个外国亲写的，是在贴吧上看见的，当时是在贴吧上一点点翻完的，觉得很不错，所以就想在坛子里再发一次，这次我会一段中文一段英语的翻译，因为悠悠不是英语专业的，日本更是小白一只，所以有不对之处，希望亲们多多指出！
分析：KAME的1582（BTR演唱会版）
在我看来，1582是一首有关森兰丸和织田信长在本能寺之变（发生在1582年6月21日）自尽之际相互之间情感的歌。他不是有关织田妻子或者是他的妾或者是其他女性。为了证实我的观点，我在这里将说明我认为可以作为结束的“依据”。这些内容将非常的长，如果它使人厌烦我很抱歉，但这将是非常有趣的研究和分析^^在读完这些以后，我建议你再去看一下演唱会中的这段表演。
这部分蓝色的在我看来是作为有力的依据。它是为那些希望对这个讨论有一个大致的了解准备的，不过我希望你们可以把全文都看完^^即使要求知道的并不多>w<
Analysis: 1582 by Kamenashi Kazuya (BTR Version)
In my opinion, 1582 is a song about Mori Ranmaru and Oda Nobunaga's homosexual
relationship right before their demise in the Honnouji Incident on the 21st of
June 1582 where they took their lives. It is not about Oda's wife or his
concubines or any woman in particular. In order to try and substantiate my
thoughts, I'm here to present what I believe can be considered as 'evidence.'
This is quite long, I'm sorry, feel free to leave if bored, but it was so much
fun researching and analysing^^ After reading this, I suggest you go back and
watch the performance again.
The parts in blue are the most strong, evidence-wise, in my opinion. But it is
there highlighted mostly for people who just want a basic basic argument. I hope
you'll read in full^^ if that's not asking too much >w<
2009年12月补充：更多关于背景故事的细节介绍
不承担责任的声明：这些是我的思考、我的分析、我的观点，并非我的信仰，我不能保证我说的这些100%是正确的，我们没有办法知道所有。
请自由地提出反对和不同的意见
我也认为从专辑的角度去看，这首歌是从一个女性的角度出发的是对的。不过我所关注的BTR演唱会上的版本。
歌词的不同（具体的下文会提及）：
专辑里的1582版本
BTR演唱会的版本（不同的地方会用黑体字表示）（贴吧里都是一个字体的，我会尝试标注，但因为日文小白，可能做不太好，希望有大人可以帮忙！）
Added Dec 2009: MORE DETAILED BACKGROUND STORY
DISCLAIMER:
- These are my thought, my analysis, my opinions, despite my belief, I am in no
way saying this is 100% correct. We have no way of knowing.
- Feel free to disagree and argue.
- I actually think the album version is fine if one says it can be sung from a
woman's point of view. It's the BTR concert one I'm focusing on.
DIFFERENCES IN LYRICS (Significance will be mentioned later):
Album Version of 1582
BTR Live Concert Version (Areas of difference in bold):
有关织田信长和森兰丸关系的背景信息（重要）：
织田是当时最著名的武士（samurai）之一因为他是第一个征服了这个日本的男人
森兰丸是织田的家仆（唉~偶很喜欢兰丸的，可是在这里用家臣是在不合适啊！郁闷）也是一个非常厉害且有天赋的武士。
1582年6月21日，织田信长和森兰丸死于这一天
大多数人都相信兰丸和织田有性关系。同性做爱（nanshoku）和鸡奸（shudou）在当时是十分普通的事（让偶想到了古希腊~~）
织田信长有两个（或者更多）小妾（以及同他的妻子，浓姬，没有感情的婚姻）和大约20个儿子女儿
在他和他美丽聪颖的妻子之间并没有爱，他们的婚姻在他们出生前就已经被决定了，作为父辈的政治表态，并且她被认定是无法受孕的
兰丸在他6岁时认识了比他大的多的信长
当信长被兰丸的美貌和魅力吸引是，兰丸被当做家仆献给了信长
兰丸的美丽被历史所认可，他的名字一直同“阿多尼斯”（希腊神话中的美少年）以及“纳西瑟斯”（就是那个被变成水仙花的自恋男人啊！）联系在一起
在此之后几乎没有人家给自己的儿子取名“兰丸”，因为这个名字是同美男子联系在一起的，所以他们担心自己的孩子因此变得傲慢
兰丸因为美貌和对织田的绝对忠诚而为众人知晓，他被认为是唯一一个理解信长，并且可以让愤怒的他平静下来的人，他也被认为是一个有能力依照他主人的意志达成任务的人
BACKGROUND INFORMATION ON ODA NOBUNAGA AND MORI RANMARU'S SUPPOSED RELATIONSHIP
(important):
- Oda Nobunaga is one of the most famous samurais ever because he was the first
man to conquer all of Japan
- Mori Ranmaru was Oda's personal servant and a fiercely talented samurai.
- 1582 is the year of Nobunaga and Ranmaru's death. They died June 21st 1582
- It is believed that Ranmaru and Oda had a sexual relationship. Nanshoku (sex
between men) & Shudou (pederasty) was a common practice in those days.
- Nobunaga had two (perhaps more) concubines (along with the loveless marriage
he had with his wife, Princess Noh) and they bore him around 20 sons and
daughters.
- There was no love lost between him and his wife who was beautiful and clever.
Their marriage was determined before their birth as a political gesture between
their fathers. She is believed to be barren.
- Ranmaru was 6 when he first met Nobunaga but Nobunaga was much older.
- Ranmaru was literally given to Nobunaga as a personal servant when Nobunaga
became taken in by Ranmaru's beauty and charisma.
- Ranmaru's beauty is known throughout history, in fact his name is commonly
associated with Adonis and Narcissus
- Very few people name their sons Ranmaru anymore because it is associated with
a beautiful man so they are afraid they will appear arrogant.
- Ranmaru is known for his beauty and unwavering loyalty to Nobunaga. He is the
only one who understands Nobunaga and can calm him down when he is angry. He
also has the ability to organise things the way his master wishes.
[font=ˎ̥]
虽然信长授予了兰丸几个非常高的官职，兰丸还是依旧作为信长的家仆
兰丸被允许参加几乎所有的军事会议，这对当时的家仆来说是禁止的
在过去男孩找到12、13岁，就会剪掉他们的头发，并梳成成人的发型（这个应该和中国古代的习俗差不多）但是信长要求兰丸保持原来的发型不要剪发，兰丸遵循了他的意思
兰丸是在信长生命即将终结时陪在他身边的人，普遍的观点是认为他是唯一个在兵变的最后一刻仍然守候在信长身边同他并肩战斗的人，当时的本能寺里没有一个女人。同时兰丸也是信长死时唯一在他左右的人。他看着他的主人切腹自杀（seppuku）(首先用刀刺进胃里，然后朝水平方向推刀，之后请求另一名武士砍下他们的头颅)，这被认为是最有尊严的自杀的方式，因为这种方式需要巨大的力量和意志力。那个注视着你切腹自杀的人一般都是你这一生中最信任的人。在信长下令不得让他的敌人找到他的头颅之后，兰丸放火烧了他们所在的本能寺（地处东京），之后他也义无反顾地用切腹结束了自己的生命，世人认为当时他只有17岁
- Although Nobunaga awarded Ranmaru with several high official ranks, Ranmaru
stayed as Nobunaga's personal servant.
- Ranmaru was allowed to attend all military meetings which was usually
forbidden for a servant.
- In the past when boys come of age (12-13 in those times), they would cut their
hair and assume the hairstyle of an adult but Nobunaga requested that Ranmaru
keep his hair uncut, which he did.
- Ranmaru was the one who was with Nobunaga at his time of death. It is commonly
believed and understood that only a handful of men were with Oda in the last
moments of battle, no women were there at all. And Ranmaru was the one who was
with Oda when he died. He watched his master commit seppuku (disembowelment that
occurs first by sticking a sword into their stomach and pulling across in a
horizontal direction, and then asking another samurai to chop their heads off)
It was regarded as the most honourable way to die because it took great strength
and will power. The one who witnesses your seppuku is often the one you trust
the most in your life. Ranmaru then set fire to the temple they were in
(Honnouji, a temple in Kyoto) after as Nobunaga had instructed so that the enemy
couldn't take his head, and then Ranmaru took his own life by committing seppuku
right after without hesitation. He was believed to be 17.
[font=ˎ̥]
据记载，信长当时的遗言是“兰，不要让他们进来”
明智光秀（Akechi Mitsuhide）（信长的最好的朋友）发动了这场军事政变去推翻信长。没有人知道真正的原因是什么，比较流行的理论有两种：1是光秀嫉妒兰丸和信长之间的关系（这种关系是指朋友关系还是感情关系就不知道了）2是信长把光秀想要或者是本来就属于光秀的土地赏赐给兰丸。（根据悠悠的认识，那时光秀是60多岁的高龄了，感情的话，也太夸张了吧！个人比较倾向接受第二种观点）
大家普遍相信信长的尸体没有被找到。因此，明智光秀变得更加多疑，并且耽误了他稳固自己实力的时间，这也导致了他最终以失败告终。
- Reportedly, Nobunaga's last words were, "Ran, don't let them come in."
- Akechi Mitsuhide (Nobunaga's best friend) staged a coup to overthrow Nobunaga.
No one knows why but popular theories are A. Akechi was jealous of the
relationship between Ranmaru and Nobunaga (whether it was their friendship or
their sexual relationship is unknown) B. Nobunaga was going to give land that
Akechi wanted/owned to Ranmaru.
- It is believed that Nobunaga's body was never found. Because of this, Akechi
Mitsuhide became more paranoid and delayed him from consolidating his power, and
most likely contributed to his eventual downfall.
12月29日补充：
这些信息比我之前在1582中分析得更为详细，这些是来自不同中国历史对此事描述报道的混合（由此看来这个故事在亚洲社会是非常著名的）
Added 29th Dec:
The following information is much more detailed than the ones I provided in my
1582 analysis, and is taken from an amalgamation of different Chinese historical
accounts (it seems this story is much more famous in Asian societies):
[font=ˎ̥]
能剧：
面具，能乐舞蹈，衣服，装饰，扇子（Mai没能解释出来）
在BTR最开始表演的部分（一直到KAME开始唱歌为止）和在水中跳舞的部分都凸显出了能剧的特点。这里包含了乐器、呤唱（请允许悠悠在这里HC一下，那个演奏的小朋友很可爱）、传统音乐和诸如扇子和面具这样的小道具
即使到了今天，依旧几乎没有女性可以参演能剧。能剧里由漂亮的男性扮演女性被认为是非常不道德的（在那种意义上甚至是可以入地狱的）（Noh drama is pretty much exclusively male as women were thought to be too immoral (whatever the hell that means -_-'')这一句悠悠翻得很纠结，求高人指点啊！）KAME在开始部分戴着的面具是传统地只能由男性使用的面具，这在当时以及更早的时期是由武士当他们需要去恐吓别人时佩戴的（兰丸是一名武士）。所以作为一名女性，在1582年时是不会允许一个既不是武士的女性又不是一个男性的人从事戏剧行业的。
NOH DRAMA:
Masks. Noh Dance (Mai). Clothing. Decoration. Fans.
- Noh drama characteristics is seen most prominently at the beginning of the BTR
performance (until Kame begins to sing) and during the water dance. These
include musical instruments, chants, traditional music, and props such as fans
and mask.
- Even today, very few women take part in Noh drama. Noh drama is pretty much
exclusively male as women were thought to be too immoral (whatever the hell that
means -_-'') The mask that Kame wore at the beginning are traditionally worn by
men only but even before that, it was samurais who wore masks to appear
intimidating (Ranmaru was a samurai). As a woman, the supposed 'female'
counterpart in 1582 would have no business wearing a mask as she was neither a
samurai nor a male in the theatre industry.
能剧的目的是为了使人沉迷于美的细微之处。能剧通偿可以只通过一个非常细小的细节，从演员的坐下的位置到他举扇子的方式来理解发生了什么。
依据能剧的准则，主要演员将戴不同的面具来表达不同的事，女性、恶魔、神等等，而其他演员则不佩戴面具。那个帮助演员的人，则像幕后工作者一样，穿着黑色的衣服以防被观众看见，负责将道具送到舞台上或者移到后台等等事情。
能剧有许多不同的种类，1582可以被归入历史剧的范畴。这类剧以发生在以前的诸如军阀、武士等有权势的人（不是普通人）身上的故事和浪漫唯美的事件为题材的。
在这些剧中，当主角不戴面具是，那么这出剧的所有演员就都不分主次了。这个现象发生也代表主演的角色的重要性削弱了。
只有一种正常情况我们可能看见主演没有戴面具就是当他扮演的知识普通人（比如年轻的男孩，年长的男子）
当扮演女性时，无论什么情况都会戴着面具
- The purpose of Noh dramas is to revel in the subtlety of beauty. Noh drama is
all about being able to understand what is going on through every single small
detail, from the position the actor is sitting in, to the way he is holding his
fan.
- Abiding by the norms of Noh Drama, the main character (shite) would wear
different mask to represent different things, women, devil, gods, etc and all
the supporting characters (waki) will not wear masks. The ones who help the
characters, almost like 'backstage staff' wear black to prevent from being seen.
They bring props on and off stage etc.
- There are many different types of classified and unclassified Noh dramas, 1582
would fit into the category of historical play. These are characterised by
stories that romanticise events that happened before with powerful people (i.e.
not the everyday people) such as warlords, samurais, etc.
- Howeve，r there are cases when the main character will not wear a mask, and in
these cases, all the supporting characters will to balance out. When this
happens, the significance of the mask that the supporting characters wear
diminishes.
- The only normal case in which we see the main character not wearing a mask is
when he a playing an human male. (Young boys, and old men not included.)
- When playing a woman, a mask will always be worn, no matter what.
现在，到了这里你开始感到疑惑，让我解释给你听为什么说这个可以证明，在1582中KAMEZ在表演中所引入的一些道具，说明了这首给并不如他所唱的，“一个坠入爱的女人”
KAME在开始时戴着的面具（这里你可以看出我对于“兰丸角度并没有切换成为信长角度”的观点的支持）并且他随后摘掉了面具。这就非常清楚再这个故事里，他只是次要角色。首先，是他坐着的位置和他将扇子从他的膝盖前举起，这个位置说并这是一个配角。第二点是他的扇子，比较他随后拿出的那把，这个小得多，装饰也更少并且在一边有一些竹条（不同于第二把）（悠悠翻译到这里又看视频，不过没能看出这点来~~）。所以这把扇子（第一把）是为配角准备的。
- Now, in case you're starting to get skeptical, let me explain why this proves,
along with the 1582 million other things Kame put in, that this song is not, as
he says, a "woman who is drowning in love".
- Kame wears a mask at the beginning (this is where you will see some of my 'Oda
and Ranmaru did not switch perspectives' view seeping in.) And then he takes it
off. It is very clear that this is a secondary character. Firstly, the position
he is sitting in, with his fan held in front of his knee, is the position
reserved for supporting roles. Second, his fan, in comparison to the one he
pulls out later, is much smaller, less decorative and it has a stick of bamboo
on either side (unlike the second fan). This fan is reserved for side characters.
第二把扇子被成为“CHUKEI”（5~查不出来），它是配合主演的。它更大，装饰也更多，并且只有一边是竹子的。
扇子是能剧中很有变现力的道具，不像在西方文化中，扇子更人更女性化的感觉，在这里扇子是用来表达很多种类的事物从瓶子、手杖甚至还可以是剑或者武器。
当扇子打开时，可以视为剧的开始因为扇子大打开就好比揭开了一位演员的幕布，开始表演，而扇子的合上，则视为停止表演。
- The second fan is called a chukei and is reserved for the main character. It
is larger, more decorative and only has one side ending in bamboo.
- A fan is a powerful tool in Noh dramas, unlike in Western cultures, where the
fan has a more feminine feel to it, here the fan has been used to represent all
sorts of things from bottles, to canes and most commonly, swords/weapons.
- When a fan opens, that signifies the start of the play because the opening of
the fan was the same as 'unveiling' a character, of 'being' a character. And
when the fan closes, they stop being the character.
现在，我相信最先表演出来的是织田，这也让我联想到了织田一个外号“第六天魔王”，信长总是被描述成一个冷酷、专横跋扈的暴君，这个外号来自于一个佛家思想。第六天的魔王从云端降临，有着人的外貌，并且用他的方式巧妙地控制周围的一切。佛教育我们必须制止自己控制支配他人的欲望。织田信长所戴的面具类似于HANNYA MASK(这里我找不到好的中文来翻译它，不过大家如果打这个英语在GOOGLE上搜索，是可以看见图的，估计是代表一种鬼吧~)，这是一个嫉妒的女性，她因为狂怒而变成了恶魔，但这两者有明天的不同。这个面具以白色取代了通常与恶魔想联系的黄色和金色。并且他有眉毛和红色的嘴唇。这些多是人的特征，但是金色的角、牙齿和眼睛则特意按时了他半人半鬼的一面。并且这个面具与一般的HANNYA比起来也柔和了很多。我认为KAME是想以兰丸表现出信长比较柔软的一面（稍后我会解释为什么其实这个面具与女性有渊源，但KAME表现得并不是一个女性）
- Now, I believe the first side character that appears is Oda. jonnys_heir
pointed out to me the other day that Oda Nobunaga's nickname was the "demon king
of the sixth heaven." Nobunaga is often portrayed as a cold, domineering tyrant,
and this nickname lays its roots within Buddhism ideology. The demon king of the
sixth heaven would literally descend from the clouds, take the shape of a human,
and manipulate it's way into controlling those around it. Buddhism teaches us
that we must fight our urge to dominate others. The mask that Oda Nobunaga is
wearing resembles the Hannya Mask the most, which is a jealous woman who because
of this fury turned into a demon, however there are stark contrasts. The mask
has a white face instead of the usual yellow/gold that is associated with
demons. It also has eyebrows and red lips. These are all humanistic attributes,
but the gold horns, teeth and eyes especially do indicate this is half demon as
well. This mask is also much softer looking in expression when compared to the
Hannya. I believe Kame is trying to show the softer side of Oda as Ranmaru
(devoted little boy that he is >3<;) undoubtedly would. (I will explain after
this why it is not possible that Kame was a woman, despite the feminine roots in
the mask)
KAME打开他举着的扇子，那把配合配角的（也就是第一把），表明他正在表演，他现在是织田。扇子上的装饰时另一种与观众交流的方式，在这里KAME使用了一个基本的技巧，它被成为“ogi o kazasu（这个应该是日语里的说法，作者音译了，可是偶不懂，翻不出来）”或者叫做“展示扇子”。在上面，我们可以看见一条蓝绿黄色相见的龙在云团中。以我对能剧的了解，我不记得有看见过有龙背画在日本扇子上，我只在中国的扇子上看见过。但是，如同在中国是被看做是祥瑞之兆（这个与西方的观点很不一样），在日本龙代表着无畏和自由，它同时也有监护、提供保护等与之相关的含义。日本龙，同“第六天魔王”一样有能力从上天降临人世，并转化成人男人的形象，但是龙的力量至于他人不是控制，而是保护。
- Kame opens the fan he is holding, the one for side characters, thus
demonstrating that now he is his character, he is Oda now. The decorations on
fans were another way of communicating interpretations to the audience, and Kame
employs a basic technique called the ogi o kazasu or 'to display fan'. On it, we
see a blue/green/yellowish dragon in the midst of clouds. In my research of Noh
drama, I had not come across anywhere where Japanese fans had dragons drawn on
them, I had only seen it on Chinese fans. But, like in China, dragons are seen
as the best creatures ever (which is a different way of looking at them compared
to the West). The Japanese dragon represents being fearless and has the meaning
of freedom. It also has the meaning of guardianship, providing a protective
force over those it was associated with. The Japanese dragon, like the "demon
king of the sixth heaven" has the ability to descend from heaven and transform
into a male, but the force it exerts over others was not to control, but to
protect.
有关保护的观点因为一些有关如何成为一名优秀的武士或者具备男人的尊严的书支持了这个观点。在年长与年轻男子之间的性爱被视作是贵族文化的一个方面。一个年轻的男子被培养成一个有能力的男人、战士，教给他们美、尊严、美德，而年长的武士就处于充满力量与能力地位。这种习俗即使在一些僧侣中也被采纳，他们相信这个可以防止优秀的武士因迷恋女性而堕落。
日本龙还有能力喷出火焰，而日本人则可以依靠他们自己制造“雨”。事实上，龙还与其中一把扇子上的绿蓝相间、被称作雨神的龙很相似。龙在亚洲，也有帝王和制裁者的内涵。在织田的众多价值高昂的所有物中有一匹名叫“蓝龙马”的马。
- This idea of protection is reinforced by the fact that in several books written on how to be a good samurai or man of honour, the practice of having sex
between an older male and a younger male was noted as a useful aspect of noble
culture. Supposedly, the younger man would be trained to become a capable man
and warrior, teaching him valuable lessons in beauty, honour and virtue, and the
older Samurai was seen as in a position of strength and power. This practice was
something even monks would partake in, believing it to curb the feminine
corruption of women that could distract from being a good warrior.
- The Japanese Dragon also had the ability to breathe fire and Japanese people
were dependent on them to make water "rain". In fact the dragon that resembles
the one of the fan the most is known as the Rain King, a blue/green dragon.
Dragons in Asia, also have Emperor/Ruler connotations. One of Oda's prized
possessions was his horse, the 'Blue Dragon Horse'.
当扇子合上时，KAME把它递给了其中一个舞台助手，以这种方式表示他已经结束了信长的扮演。这个做得非常的刻意，我们可以通过KAME在表演打开和合上扇子时额外慢速的动作看出来。
在他在面具前晃动手时，这种轻抚非常类似做爱的方式。然而，在这个时刻他已经不再是信长，很明显已经是另一个人，通过这种轻抚，我相信他是在表达他对信长的感情。
另一把扇子被拾起，吟唱（作为能剧的一部分）开始了，它非常像一场正在进行的战斗。这把扇子大得多，有更多生动的装饰，并且没有竹子在一边，这些都表示这个才是主角。这把正好张开，再一次运用了“ogi o kazasu”技巧来展示扇子。在上面的是一种非常在日本很流行的花，牡丹。
- When the fan has been shut, Kame gives it to one of the stage helpers,
effectively demonstrating that his portrayal of Oda Nobunaga's character is
finished. And this is done deliberately, we can see this through the extra slow
care Kame takes to demonstrating the opening and closing of the fan.
- This is when he runs his hands all over the mask, caressing it in quite a
sexual manner. However, he is no longer Nobunaga at this point, but clearly
another person who, through the caressing, I believe is demonstrating his
affections for Oda.
- Another fan is picked up, the chants (as part of Noh drama) pick up and it
begins to feel like a battle is occurring. This fan is much larger, with more
vivid decorations and no bamboo on one side, showing that this is the main
character. The fan is spread right out, once again using the technique ogi o
kazasu to display the fan. On it are a type of popular japanese flower, peonies.
现在，没有了通过扇子装饰体现出来的手势的演绎，但是，我发现了一点，就是普遍的来看如果他是女性他应该被一团红色覆盖，在里面，大多数的背景应该是红色的。牡丹是迷人的象征，正如你看到的，牡丹总是在盛开后急速凋零。同时，牡丹还代表温柔的爱（它经常与狮子和龙组合在一起意指驯化凶猛的动物），不同于西方，牡丹在日本还是一个男性化的装饰图案。同样在纹身里，它们也经常与龙一起出现在流行文化书中武士英雄的手臂上。它表达的是一种非常勇敢、男子气概的激情，但也同时富有美、爱与感情。（我甚至不用去说这种兼具女性与男性的双重性？我的意思是，我想你现在已经想用石头扔我了~哈哈~）（悠悠翻到这里有点不能理解作者为什么会认为我们要向她扔石头，估计我已经有点反应迟钝了……ORZ）
Now, there aren't many interpretations handy for fan decorations, however, the
one that I found that seemed to be the most common was that if it was a woman,
it would be covered in masses of red. As in, most of the background should be
red. Peonies however are quite a fascinating symbol, as you see, peonies are
said to only truly bloom after heavy rainfall. Plus, although peonies represent
gentle love (and is often paired with lions and dragons as a means of taming the
more ferocious creature), unlike in the West, peonies have become somewhat of a
masculine motif as well in Japan. As tattoos, they are often seen decorating the
arms of warrior heros in pop culture books along with dragons^^. It represents a
very daring, masculine emotion but is also associated with beauty, love and
affection. (I don't even need to say the whole duality of femininity and
masculinity by now right? I mean, you should all be wanting to throw rocks at me
now haha)
把扇子从他身前举起后，KAME开始加入了动作较快的能剧舞蹈（mai）在其中。这段他加入的舞蹈被称为“Otoko Mai”或者是更字面一些的“男性舞蹈”。他通常由男性演员扮演的历史人物跳的，大多数是战士，比如：（Jyuro Kosode and Goro Kosode in Soga Kosode and Sanehira Doi in Ochi Shichik这里罗列一些人名和剧目，我翻不出来）。这个舞蹈通常速度较快（与惯常的慢速不同，通过自身各种方式密集地做出姿势）并且以一种绅士的、优雅的风格来表演。演唱会上的表演用这种舞蹈描绘出了角色的英雄气概，巧妙地暗示了兰丸的激烈情感，因为他是一位男子，所以他不再戴着面具。
下面是为什么说不是女性的原因：出来我已经提到的理由，这个面具看上去是喜悦（混合着爱、正在愈合的伤口）与悲伤（死亡）的结合体。在能剧中的一个常见的技巧是向后倾斜脸来表示喜悦，向下看则表现悲哀，因为这样就可以选择想要通过面具表达的情绪，在扮演织田信长时，他的头晃动了一圈，既朝上又朝下看，将两周情绪交织在了一起。如果只是要表达一个女性的狂怒和嫉妒，那就不会用这样轻柔、苦乐参半的背景音乐来衬托了。同样它也不适合来搭配陷入爱情中的女性的情感。并且，如果是女性的话应该戴着面具，当第一把扇子合上时，就已经意义着，他将不再是一个女性。所以据此也就能推断出KAME在之后的一段时间内扮演的也不是女性，即使他衣着有些女子气！（这里允许悠悠插一句，写文的亲选择了用“womanly”这个词来表达女子气，这个词是一个褒义词！觉得写文的亲用词很细致呢~）
- Holding the fan out in front of him, Kame begins to engage in a quick Noh
dance (mai) with it. The dance that he engages in is called Otoko Mai, or more
literally, "male dance." It's danced by male characters playing actual
historical figures, mostly warriors, such as Jyuro Kosode and Goro Kosode in
Soga Kosode and Sanehira Doi in Ochi Shichiki. This dance is often done is quite
a fast tempo (a contrast to the usual slow, solumn gestures that pepper itself
through all forms of Noh dramas) and there is suppose to be a gentlemanly,
elegant style to it. The performance uses this dance to portray the character as
heroic, subtly hinting at Ranmaru's fierceness, and never wears a mask because
he is a male.
- Now as for why it can't be a woman: Aside from what I've just mentioned, the
mask looks like it is a combination of happiness (being with the loved one,
healing wounds, being together), and sadness (death) at the same time. A common
technique used in Noh drama was to tilt the face backwards to show happiness,
and look downwards to show sadness because it would alter the expression on the
mask, and 'Oda Nobunaga's' character swings his head around in a circle, looking
both up and down, tying together the two emotions. If it was about a woman's
fury and jealousy, then it would not fit the soft, bittersweet background music.
It would also not fit the idea of a woman in love. Plus, if it was the woman in
the mask, then when the fan closed for the first time, it would mean, it's no
longer a woman. And therefore that would imply that Kame wasn't a woman in the
next few moments, where is he womanliest! Haha~
这里请100%相信我，尤其是在我已经重新看过表演后。
一些人会说我们过度分析了，并说KAME不是在表演别的就是在扮演一个女性。那就想一想面具（与能剧的面具非常类似），扇子（那些特别的打开方式，主角的扇子不是以竹子作为结尾），姿势（一开始是坐着的，移向另一边，在膝盖前合上扇子），传统的歌谣，太鼓（taiko），乐师，舞台上助手穿着黑色的衣服，等等。我认为这些都非常确定的说明KAME的意图就是将这些同能剧联系在了一起。他还通过表演痛苦来表示戴面具的角色是一个配角，而扇子的开合则表示角色的出现和离去。当主要角色需要表演很长一段时间的时候，他打开了代表主要角色的扇子（chukei）（这个词我还没有确切的查到，不过我推测有可能是折扇吧~不知道有没有亲可以帮忙证实下），并把他递给舞台助手让他帮他举着它，这样观众就能看见并明白，这个角色就是我将要表演的，我将继续扮演他知道这把扇子合上时才结束。遵循着能剧的传统，KAME不可能在代表一个女性，因为在当时（甚至现在）都很少有女性可以参演能剧。在那个时代更是不和礼法的。所以他只可能是一个男子，在扮演一个男性角色。能剧以它的面具为特色，这是一种交流方式，他们通过它来描述一些不同寻常的角色，好比神、魔鬼、女性等。只有当主演扮演的是普通的男子时才可以不带面具。这就非常清楚地表示KAME在扮演一个角色，因为折扇是开着的。随后KAME接着表演，
(This convinced me 100% - especially when I rewatched the performance)
- For all that people can say about how we are overanalysing, and that Kame is a
woman no matter what, well here is the thing. Taking into consideration of the
mask (that looks so similar to Noh mask), the fans (that even have the special
opened, no bamboo end for the main character), the gestures (sitting at the
beginning, turned to the side, with closed fan in front of knee), the
traditional singing, the drums (taiko), the musicians, the stage hand dressed in
black, so on and so forth, I think it is pretty damn safe to say that Kame
intended there to be a connection to Noh theatre.
He even goes through the pains of demonstrating how the characters wearing masks are side characters. And that he opening and closing of a fan turns a character on and off. When the main
actor plans to be a character for a long time, he opens the main fan (the
chukei) and hands it to a stage hand who helps him prop it up, so the audience
can see, 'This is the character who I am going to play. I wil continue to be
them, until the fan is closed.' And following by traditional Noh drama, Kame
would not have been a woman actor because at that time (and even now) very
rarely are women in the business of Noh drama. And at that time it was illegal.
So he had to have been a man, who was playing a man. Noh drama are characterised
by their masks, it's a form of communicating and they depend greatly on it to
portray extraordinary roles like gods, demons and women. The only time the main
character could go maskless is when he is playing a human male. And it's clear
that Kame was playing a character because the chukei is open.
随后KAME接着表演，我不认为KAME将表演和能剧联系在一起仅仅只是一时的，他甚至通过来特别的座位表达落座的位置，通过长时间想我们展示扇子重要意义等等，却在中间转变角色而不合上扇子并打开一把新的扇子。如果他想要转换角色，他完全可以表达出这个信息——KAME在中间转换了角色，扮演织田了。
Kame then proceeds to perform. I don't believe for one second, that Kame would incorporate so many
references to Noh drama, even getting all it's particulars down to a tee like
sitting positions, go to such lengths to show the significance of the fan to us
etc, and just decide to switch characters in the middle without closing the fan,
and opening a new one. If he had wanted to, he could have positioned the
THEORY - KAME SWITCHES TO ODA'S POV IN THE MIDDLE:
一种观点是不同于专辑里的版本，KAME在BTR演唱会版本里，实际上是角色是由兰丸转换成织田，再重新变回兰丸。理由是在中间那部分非常男性化是代表织田的。这在专辑版本里是非常解释的通的，但是在BTR演唱会上，用“伤痕累累的心因为沐浴鲜血而治愈”，在专辑里唱得则是“伤痕累累的心，看见您就能被治愈（傷だらけの心さえも あなたを見て癒えるわ）”。这个感觉似乎是在说同一件事，但实际上谈的却是不一样的事。还有，在这之后出现的句子是“哦~我哀悼我孤寂的公主”，如果这是从织田口中说出的，那就实在与他的性格不符了。我们都知道他和她的王妃，浓姬，并不幸福，也不可能是他的小妾们，因为他并不特别宠爱其中的一位。
- One theory is that unlike in the album version, Kame in the BTR version,
actually switches from Ranmaru to Oda to Ranmaru. The most 'manly' section in
the middle is Oda. This is actually quite viable as Kame has replaced this
section in the album version. Whilst in BTR, he sings "this body littered with
wounds is healed by bathing in that blood", it is replaced with, "this heart
littered with wounds is healed by watching you". It feels as if the same things
are being talked about, but are talked about differently.
- The only one thing that appears off is the line "Oh I lament the lonely
princess." If Oda is the one saying this, it feels very uncharacteristic of him.
Oda is known to now give a damn about his wife, Princess Koh, and it couldn't be
about his concubines because he didn't care strongly for one in particular.
- Another point is that Kame uses the term 'waga' meaning 'our'. This is very
formal. It is usually used when representing say, your company and you say, "our
company" or "our country". But in this case, it was in line 27, referring to our
dreams. It seems like an uncharacteristically formal thing for Oda to say.
一次没有确实的标志可以说明KAME从扮演兰转而扮演了织田。事实上，KAME一直用比较挑衅的姿势，表现出含蓄的性感，他的移动的姿态从某种意义上说也很优雅迷人，如同他猛击水柱时是用一种回旋的方式。事实上，织田信长经常是不可能穿KAME者表演时所穿的衣服的。呵呵~它既不是武士的战斗时的衣着也不是私服。它更像是男性说穿的女性的衣服，所以他的衣服应该更男性化一些，而这套演出时的衣服更适合兰丸的特点，想象他穿在织田的身上就有点诡异了~
再有就是武士的发型（兰丸没有这个发型）是前额的头发在一直到头中间要被剃掉，剩余的部分梳起来。明显地，织田对兰丸说过，“不要剪掉你的头发（maegami前额的头发），我希望你永远都是我的家仆，无论你有多大！”。这也基本说明，他希望兰丸永远待在他的身边。如果KAME表演的是一位女性，他应该把他的刘海都往后边梳，而如果他之后扮演的是织田，那他也不应该是现在的发型，也应该把头发都往后梳才对。
- There is no actual indicator of a change if Kame did change from Ran to Oda.
In fact, Kame still, even with the more aggressive stance, portray a soft
sensuality, and his movements were very elegant in a sense, like when he swiped
the water in a circular fashion. In fact, Oda Nobunaga would most certainly not
wear what Kame was wearing haha~ it's not exactly samurai battle OR private
wear. It's more like female clothes that a man wants to wear, so he fashions it
to become more masculine, which would definitely suit Ranmaru's character but
might look faintly O_o on Oda.
- Plus, the samurai hairstyle (the one Ranmaru never got) shows that the
forehead hair and about halfway up the head has been shaved, leaving the rest
tied up. Apparently, Oda said to Ranmaru, "Don’t cut your maegami (forehead
hair) I want you as my servant, no matter how old you are!" Which basically
meant, he wanted Ranmaru to stay by his side forever. If Kame was portraying a
woman, he would have pulled his bangs (forehead hair) all the way back, and if
he was then later portraying Oda, he would have not taken his hair now, and also
would have pulled his forehead hair back.
更多的依据在能剧部分已经指出
普遍认为是织田信长视角（被誉为是一个英俊的男人）
不论KAME如何的男性化（或者试图表现的这样），都不可能释放出同样的气场的？
（悠悠：最后这两句看得我有点云里雾里的，不太明白，估计就是作者在此强调一下，认为表现的是信长的观点是不对的吧~~）
能剧有关的论述终于结束了，在此膜拜写文的亲，强啊！
- More evidence below in the Noh Drama section.
- Common Depiction of Oda Nobunaga (Said to be quite a handsome man)
- No matter how manly Kame is (or tries to be xD;;), doesn't give off the same
air, eh?
另一种观点是KAME用“waga”意指“我们的”。这个是非常正式用法。它经常被用在代表发言中，比如你们的公司和你们可是说成是，我们(our)的公司或者是我们的国家。但是在这里，在第27句，提到了我们的梦（悠悠注：我找了下，作者指的大概是这句：あなたとの日々夢見て）。这个也感觉不像是从织田口中说出来的话。
Another point is that Kame uses the term 'waga' meaning 'our'. This is very
formal. It is usually used when representing say, your company and you say, "our
company" or "our country". But in this case, it was in line 27, referring to our
dreams. It seems like an uncharacteristically formal thing for Oda to say.
一次没有确实的标志可以说明KAME从扮演兰转而扮演了织田。事实上，KAME一直用比较挑衅的姿势，表现出含蓄的性感，他的移动的姿态从某种意义上说也很优雅迷人，如同他猛击水柱时是用一种回旋的方式。事实上，织田信长经常是不可能穿KAME者表演时所穿的衣服的。呵呵~它既不是武士的战斗时的衣着也不是私服。它更像是男性说穿的女性的衣服，所以他的衣服应该更男性化一些，而这套演出时的衣服更适合兰丸的特点，想象他穿在织田的身上就有点诡异了~
再有就是武士的发型（兰丸没有这个发型）是前额的头发在一直到头中间要被剃掉，剩余的部分梳起来。明显地，织田对兰丸说过，“不要剪掉你的头发（maegami前额的头发），我希望你永远都是我的家仆，无论你有多大！”。这也基本说明，他希望兰丸永远待在他的身边。如果KAME表演的是一位女性，他应该把他的刘海都往后边梳，而如果他之后扮演的是织田，那他也不应该是现在的发型，也应该把头发都往后梳才对。
- There is no actual indicator of a change if Kame did change from Ran to Oda.
In fact, Kame still, even with the more aggressive stance, portray a soft
sensuality, and his movements were very elegant in a sense, like when he swiped
the water in a circular fashion. In fact, Oda Nobunaga would most certainly not
wear what Kame was wearing haha~ it's not exactly samurai battle OR private
wear. It's more like female clothes that a man wants to wear, so he fashions it
to become more masculine, which would definitely suit Ranmaru's character but
might look faintly O_o on Oda.
- Plus, the samurai hairstyle (the one Ranmaru never got) shows that the
forehead hair and about halfway up the head has been shaved, leaving the rest
tied up. Apparently, Oda said to Ranmaru, "Don’t cut your maegami (forehead
hair) I want you as my servant, no matter how old you are!" Which basically
meant, he wanted Ranmaru to stay by his side forever. If Kame was portraying a
woman, he would have pulled his bangs (forehead hair) all the way back, and if
he was then later portraying Oda, he would have not taken his hair now, and also
would have pulled his forehead hair back.
更多的依据在能剧部分已经指出
普遍认为是织田信长视角（被誉为是一个英俊的男人）
不论KAME如何的男性化（或者试图表现的这样），都不可能释放出同样的气场的？
（悠悠：最后这两句看得我有点云里雾里的，不太明白，估计就是作者在此强调一下，认为表现的是信长的观点是不对的吧~~）
能剧有关的论述终于结束了，在此膜拜写文的亲，强啊！
- More evidence below in the Noh Drama section.
- Common Depiction of Oda Nobunaga (Said to be quite a handsome man)
- No matter how manly Kame is (or tries to be xD;;), doesn't give off the same
air, eh?
KAME的造型：
兰丸角度：
在开始时，KAME真的很像艺妓，很明显在那时他是一个女性？我是指他用了艺妓舞蹈时用的扇子、服饰和伞？这些外在的表现使得我们认为是一个非常漂亮的艺妓KAME，但是有一些细节主要指出：
Kame's look:
Depiction of Ranmaru:
At the beginning, Kame really does look like a geisha doesn't he? So obviously
he is a woman right? I mean he had the geisha dance fan, costume and umbrella,
yeah? Heehee, just kidding^^. The average onlooker will think, yup, pretty
pretty geisha Kame~ however, a few points:
KAME装扮和真正艺妓穿的还是有很大的不同的，KAME没有图白色的底妆（不知道这样说专业吗？但是意思大家都明白的吧~），没有化妆容，没有在头发上装饰巨大的饰品，也没有有大的腰带绑在他的腰部。
并且艺妓其实是在17世纪在渐渐出现的，但是KAME的这首歌是发生在16世纪的，1582年，他真的如此所以的决定将这个女性像后推移了100年吗？
因此，第一个艺妓其实是一个男性。（这里又一个词我不认识taikomochi，根据上下文，我猜测是小姓，或者是侍童的意思）他们一般被认为是taikomochi，起源于13世纪那些侍奉封建主（如织田）的弄臣，大多数时通过舞蹈来建议或者是取悦他们的主人。到了16世纪，他们被认为是讲故事的人（支持这一观点的证据是1582几乎是一首死法礼赞）和共同商议军事战略的人以及再战场是同他们的主人共同作战的人。（这里几句的翻译我不是很有把握。）
需要记住的是艺妓不同于jinv。
- The costume that Kame wears is actually different to what real
geishas wear. Kame is missing the white make up, painted face, huge decorating
ornament in his hair, and the large sash that is suppose to be tied around his
waist.
- Did you know that female geishas did not actually come into
existence until late 17th century? Kame is singing about a time in the 16th
century, 1582. So did he just randomly decide to pull a woman back 100 years?
xDD;;
- For those who don't know, the first geishas were male. Yup, they
are known as taikomochi and they started out as japanese jesters who served
feudal lords (like Oda) from 1200s, mostly through dancing. These men both
advised and entertained their lords. By the 1500s, they were known as story
tellers (which supports the idea that 1582 is a death poem that narrates a story
almost) and sounding boards for military strategies and they battled at the side
of their lords.
- Please keep in mind that geishas are not the same as prostitutes.
虚词的使用：
女性疑问虚词后缀の (no)在BTR演唱会的第12句，KAME唱到“望向无尽的大地的目光，会映照出什么？（見果てぬ地に向かう瞳は 何を映し出してゆくの）”这里是在他穿着者女性衣服是唱的。随后，KAME唱“是爱？（这个我在歌词里没有找到）”，则用了更为男性化的疑问虚词か (ka)。一些人持有这样的观点，认为是一首女孩和男孩对唱的歌，但是，KAME在他男性造型的时候，在第39行有唱了一遍“望向无尽的大地的目光，会映照出什么？（見果てぬ地に向かう瞳は 何を映し出してゆくの）”用的仍然是女性的疑问虚词后缀。从这点看也就暗示了仍然兰丸在唱，KAME试图用这样的表现方式表现兰丸性格中男性化与女性化（就好比他通过男女两种造型）。这里的“是爱？”部分是专辑里面没有的。这一部分包含了死亡与明显是男性的信息。这个遗漏可能是有人希望可以弱化对于这首歌是以男性角度来写的比较明显的联想。
许多句子都是以女性较为常用的后缀结尾的，同时这些句子又都使用了男性常用的后缀结尾的再唱了一遍，我认为这是为了强调“他”性格与外表的两重性。
WORD PARTICLES:
- The feminine question particle suffix の (no) is used at the end when Kame
sings "Eyes reflecting neverending lands. What do they reflect?" in line 12 (BTR
version). This was when he was dressed as a woman. Later (this part is omitted
from the album version), Kame sings, "Is it love?" (line 35) using the more
masculine question particle か (ka). Some people can take this to meaning that it
IS a girl and a guy singing, however, Kame sings this line "Eyes reflecting
neverending lands. What do they reflect?" again with the same feminine question
particle, in line 39, when he is dressed as a male. This seems to imply that it
is still Ranmaru speaking, and Kame is just trying to portray the masculine and
feminine sides of Ranmaru's personality (as he does by dressing as a woman then
a man.) The "Is it love?" section is the section omitted from the album version.
This section is the one that encompasses the most references to death and to
being distinctly male. And is it the one omitted. Perhaps someone is trying to
pull away slightly from the obvious associations that is it a male? xD
- A lot of sentences are ended with suffixes that more commonly belong to
females however, there are just as many sentences that end with male suffixes -
once again I think highlighting the duality of his personality and appearance.
从女性角度：
の（no），在问题结尾用的情况：
“会映照出什么？（何を映し出してゆくの）”第12句，（开始部分，当KAME是女性造型）
“会映照出什么？（何を映し出してゆくの）”同样的句字在第39句（在结尾部分，当KAME是男性造型）
从男性角度：
よ（yo），当女性使用这个词是，会在前面加上一个（wa）
“他们时散落的星辰（散っていった星たちも）（大概是这句吧，突然发现要翻这段不懂日语是很痛苦的事情）”第28句（在演唱会版本的中间部分，当KAME在描述织田的部分）
“ 哦~我哀悼我孤寂的主人（偶又一次没有找到）”第31句（中间部分）
仅从后缀的使用来看，就不能断言他是完全的男性还是完全的女性了，同时也会发现，他的出现都很对称（这里有可能原作者有个拼写错误symmetical，好像没有这个英语，我就用了symmetrical来翻了），例如：女性虚词出现在开头和结尾等等。这一点再次认为这是为了加深兰丸的女性优美和男性性格。另一个依据需要被提到的就是男性使用女性虚词比女性使用男性虚词更容易被接受，因为男性虚词天生且首要的特点就是粗鲁和充满攻击性，而女性虚词则表现得比较和善有礼。在织田和兰丸的时代，男性使用女性虚词是比较寻常的。只是在如今，当我们越来越现代化，我们的语言也弱化（个人以为这里degrade本意有“贬低、恶化”，但作者想要表达的应该并不是那么严重的意思，所以就这样翻了），年轻的男孩子被鼓励使用“or”或者“'boku（僕）”这样的词来表示自己，这些词不礼貌，且很男性化。
- For females:
No の - used when ending questions
"What do they reflect?" in line 12 (Beginning section - when Kame was dressed
like a woman.)
"What do they reflect?" the exact same line in line 39 (Last section - When Kame
is definitely a male)
- For males:
Yo よ - when females use this, they add a 'wa' in front of it
"They're scattered stars" in line 28 (Middle Section BTR version when Kame could
arguably have been portraying Oda)
"Oh I lament the lonely princess" line 31 (Middle Section)
- Based on the suffixes alone, one cannot say he is purely male or purely
female, as you can see, it almost appears quite symmetical i.e. the feminine
particles appear once at the beginning, once at the end etc. This I think once
again compounds the idea of Ranmaru's (and by extention - Kame's) feminine
beauty and masculine personality (although Kame is also quite girly xD). Another
thing that should be noted is that it was/is much more acceptable for a man to
use feminine particles than a woman to use male particles, simply because male
particles are more rude and aggressive by nature but first and foremost,
feminine particles express politeness. In Oda and Ranmaru's time, it was not as
big of a deal for men to refer to themselves using feminine particles. It is
only recently, as we modernise, our language degrades, and young boys are
encouraged to use 'ore' or 'boku' to refer to themselves as it is not as polite
and more manly.
よ（yo），是只用男性才使用的虚词，但是也可以作为古代的第一人称来用，也仅有男性可以使用（这就是当它不出现在句子结尾时的用法），当这个词不作为后缀出现使用时，它就解释为“我”，它出现在以下句子中：
“手握胸前祈祷，当我从来不曾醒来时(ずっとずっと覚めぬように 胸に手をあて願う)”第17句（开始部分，当KAME的造型是女生时）
“手握胸前祈祷，当我从来不曾醒来时(ずっとずっと覚めぬように 胸に手をあて願う)”第29句（演唱会的中间部分，当KAME在描述织田的部分）
“手握胸前祈祷，当我从来不曾醒来时(ずっとずっと覚めぬように 胸に手をあて願う)”第49句（最后部分，当KAME完全是男性时）
这是不是就可以推断为KAME，从一开始就一直是一个男性呢？
- The word yo よ, is not only a particle that males use, but it is also an
archaic first person singular pronoun used ONLY by males (this is when it
doesn't appear at the end of a line). When the word 'yo' is not used as a
suffix, it means 'I'. It appears:
- "I touch my hands to my chest and wish// That I will never ever wake up." Line
17 (Beginning section- when Kame was dressed like a woman.)
- "I touch my hands to my chest and wish// That I please, please won't wake up."
Line 29 (Middle Section BTR version when Kame could arguably have been
portraying Oda)
- "I touch my hands to my chest and wish// That I please, please won't wake up."
Line 49 (Last section - Kame was definitely male)
- Doesn't this seem to imply that Kame, from the onset, was always male?
OTHER SYMBOLS:
其他象征：
口红。不要忘记口红哦！我觉得口红是KAME基本确立了之后的扮演的是一个人的标志。如果口红是指示这是一位女性的话，那么之后KAME就有充裕的时间迅速地擦掉它在他转变成男性之前。但是这仅仅是一个小细节。最主要的是，我认为口红是为了再次表现“渴望”与“死亡”。KAME差不多都是选择那些深红色的口红涂在他的下嘴唇上，并且沿着嘴唇涂到嘴角下面。这个既是暗示着持续的性，也暗示着死亡和鲜血，这个紧接着的一句歌词里就有体现“沉溺在鲜血中染红自己（その血に溺れて染まる）”。口红的痕迹好似鲜血从嘴角边流出，再一次体现了性于死亡的对立与统一。我不是非常确定其他的死亡方式，但是我知道自缢是不会有嘴角流血的情况出现的（至少在电影的描述中不会出现），但是如果是切腹自杀的话嘴角是一定会流血的。
- The Lipstick. Can't forget the lipstick. I saw the lipstick as an indicator
that Kame was essentially the same person throughout. If the lipstick was meant
to be an indication of 'woman' then Kame had ample time to wipe it off swiftly
before his change to man. But that's only a little point. Mainly, I think the
lipstick once again portrayed both 'desire' and 'death'. Kame practically moans
out "those crimson lips" as he paints the bottom of his lip only with red
lipstick and smears it down the side of his mouth. The implications of sex hang
there, but also the implications of death and blood which is seen in the very
next line "stain yourself by drowning in that blood". The smear of lipstick
looks like it represents blood that comes out of the mouth, to once again mark
that contrast and unity between sex and death. I am not sure about other forms
of death, but I know that for example suicide by hanging usually will not result
in blood coming out of the mouth (even though it's portrayed that way in
movies), however blood will always flow out of the mouth in during seppuku.
纸卷。
根据我对切腹自杀的了解，它通常被视为是在没有其他办法保有尊严时而采用的自杀的方式。有可能有人会将他假设为孤注一掷的行为，但其实不是。只有他拥有切腹自杀的权力（举个例子如果他被敌人俘虏了）他才能做到这个。第二个它取决于时机，敌人一般是不会给予你充裕的时间让你完成切腹自杀的仪式的（因为当时所有的武士都理解这种死亡方式中所包含的尊严）或者他们会减少步骤只能他们认为必须具备的步骤。武士自杀时会留下遗言，这个遗言如同1582中的一样不同于我们一般的是那种历尽艰辛的自白，或是像是“与残酷世界的告别”。武士们留下的遗言通常都更“华美”，我认为一个词可以用来称呼这些遗言——死亡之诗。遵循正确的切腹仪式，在迷离之际写下的死亡之诗，这就是纸卷的象征。或许整首1582自己就是一首死亡之诗，在第一句或者说是第一阕的时候，就已经预示了一个即将凋零的生命，KAME或者是兰丸在以某种反映来表达他们的悲伤、喜悦，以及他们渴望能与织田永世相伴。
- The Paper. According to my research on seppuku, it is an act committed usually
when there is no other dignifying way out. This would lead one to assume that it
is quite a desperate act, but it isn't. One must ask (if caught by the enemy for
example) if they can have permission to commit seppuku. And depending on the
situation, the enemy would either accept and give you ample time to fulfill the
seppuku ritual (as all samurais understood the honour in dying this way) or they
would decline and do as they saw fit. Samurais would leave a suicide note
behind, but this suicide note once again - just like how 1582 is - is not our
ordinary run of the mill suicide note, like 'goodbye cruel world' etc. The notes
left behind by samurais are much more... 'beautiful' I guess is a word that can
be used, they are called death poems. Abiding by proper seppuku rituals, the
person is left alone for a while to compose a death poem, which is what the
paper symbolises. Perhaps the entire song of 1582 was a death poem in itself as
the first line/stanza already alludes to a person nearing death and Kame/Ranmaru
in a sense reflecting, expressing his sadness and his joy, and his desire to be
forever with Oda.
我认为这就是为什么他要在他在放开它（纸卷）之前，如此轻柔地捧着它，凝视它，将自己的感情都融入其中，是因为他希望它可以被发现，因此他没有再死的时候带着它。在死亡之诗完成后，KAME走入另一个下一个切腹自杀的场景（可以参看下面对于水的象征含义）。一些人认为KAME在这里用飞翔代表他以化作鬼魂。我不这样理解，因为没有鬼会在下一个场景中再杀自己一次。我认为这个就像三岛由纪夫（Yukio Mishima，这个名字不清楚翻对了没？）所描述的切腹自杀（他也用这种方式自杀过），在死之前，我们的确还可以苟延残喘一段时间。当KAME飞舞和演唱的时候，纸卷没有远离过它，一直缠绕在他身边。这个其实是表现他正徘徊于内心思考之中，当他落地时（悠悠注：也就是下定决心了），他放开了纸卷。最有趣的地方是在他放开纸卷的时候也正好是歌曲结束的时候。我认为这个这就直接证明了1582自身就是一首死亡挽歌，这是由一个人所写的（我从来没有听说过一同在切腹的时候共同写遗书的），这也进一步证实了我的观点，这首歌是以兰丸的视角来写的，而不可能是一个女性，因为此后并没有男性出现的说明。
I think that's why he was holding it and gazing at it so
tenderly, pouring his emotions into it before he 'released' it to hopefully be
found i.e. not take it with him as he dies. After the death poem is completed,
Kame enters into the next stage of the seppuku ritual (see below - significance
of water) Some have taken the 'flying' that Kame does to show that he has become
a ghost. I am not sure about this interpretation because why would a ghost kill
himself in the next stage? I think what is more likely is what Yukio Mishima
writes on seppuku (he eventually killed himself this way as well), that right
before death, we are the most alive. As Kame flies and sings, the paper is never
far from him, it's always entangled around him some way or another. This would
appear to suggest that he is in the midst of "contemplating his inner ways" and
when he lands, he releases it. What is even more interesting is that he releases
the paper at the exact moment the song ends. This I think is definitely a sign
that 1582 is a death poem, that is written by one person (I have never heard of
joint suicide notes being written in seppuku) from the onset further
substantiating the idea that it is just Ranmaru's POV and that it can't be a
woman because then that doesn't account for the masculine presence after wards.
旗帜：
从历史上看，红色和蓝色在旗帜上并没有太多意义。织田的旗帜是亮黄色的，但是其中也混合了蓝色和红色，代表了火和水这两种元素的混合，这些元素我们在之后的表演中也可以看见。有趣的是，火是男性化的元素，而与此同时水，相反的是女性化的元素。我想我由回到了那个点，所以我罗列了这个简单的公式：女性+男性=兰丸=“ghei rabu rabu”（悠悠：不懂啊！应该是日语，希望亲们补充）
- The Flags at the beginning. Historically, the red and the blue of the flags
don't have much significance. Oda Nobunaga's flag was a bright yellow. However,
the mixing of the red and the blue feels like the two elements, fire and water
are clashing together, which we seen later on in the performance as well.
Interestingly, fire is a masculine element, whilst water, it's opposite, is
feminine. I know I keep coming back to this point so I'll shorthand it feminine
+ masculine = Ranmaru = ghei rabu rabu xD;;
水的象征意义：
水灾表演中一共出现了4次。1）当KAME猛砍剑时通过一排水柱；2）当KAME站在雨伞上，水柱将他托起；3）在烟火后，他的周围喷洒出水柱；4）最后结束的时候，KAME一边跳舞一边被泼水。
水是与被火吞噬的兰丸与织田所在的寺庙所相对的。在KAME落地（在他飞舞着表演烟火特技后）时环绕它的水柱喷涌而出。这个时候也可以看见红蓝交织的旗帜。
水师日本哲学中的五个元素之一。它代表这个世界上液态、无形的东西，经常与鲜血、体液等相联系。也许水是象征了激烈飞溅出来的鲜血，因为歌词中也提到了“沉溺”“浸染”在鲜血里这样的句子，沉溺、浸染也都与水有联系。
水还是灵魂的净化者。
切腹自杀被视为有同样的作用，认为以这样有尊严的方式自杀是可以净化和清除人的罪恶的。成功地实行切腹自杀也能使自己的家族保有所有的尊荣。
SIGNIFICANCE OF THE WATER:
- The water is seen four times, and mostly at the end. First when Kame slashes
his sword through it, then when Kame stands on the umbrella and is pushed
upwards, then after the fireworks, they shoot up from around him and lastly the
dance Kame does whilst getting doused with water.
- The water provides a contrast against the fire that consumes the temple
Ranmaru and Oda were in at the time. After Kame lands (having performed the
fireworks stunt) the water shoots up from all around him. Also seen though the
contrast of blue and red flags
- Water is one of the five elements in Japanese philosophy. It represents the
fluid, formless things in the world and is often associated with blood and other
bodily fluids. Perhaps the water was meant to symbolise blood which would
explain the vehement splashing, as a way of 'drowning' 'bathing' in the blood as
mentioned in the lyrics - both drowning and bathing have strong associations
with water.
- Water also is seen as a purifier of the soul.
- Seppuku is viewed in much of the same way. Being able to die such an
honourable death was seen as a purification and purging of a person's life sins.
To be able to successfully carry out seppuku meant all honour can be restored to
the family.
事实上，遵循适当的切腹自杀的仪式，那个人必须沐浴，并换上白色的和服（就是类似KAME在水中跳舞时所穿的衣服）。你也可以注意到KAME在开始时（这里的开始应该是指歌曲结束后舞蹈那部分的开始）所穿那套和服或者浴袍并不是白色的，随着往他身上不断的泼水，它逐渐变得更白，这个似乎就是在通过沐浴在净化。在水中舞蹈这个部分快要结束时，他轻抚他胃，在临结束时有用甩开他的浴袍，露出他的腹部——这个就如同一个武士在将剑插入自己的胃死去之前所做的（KAME倒下后，灯光暗了下去）
关于为什么浴袍的颜色会有变化的答案是，我相信这个是想要像观众表示是水使得浴袍变得更白，这是在净化。我非常确定你也注意到了当遇到冷水时，浴袍的颜色变红了。当浴袍变白时，可以看见他身后有升起白烟，应该是热水造成的。这个也可以被认为是佛教中火和水元素的体现。“更大的挑战、更凶的火势、更深的净化”尊敬的Dhamananda说过这样的话。这个就好似火与水元素的聚合，在他的浴袍上就体现在蓝色与红色，也就类似男性与女性、性与死亡的统一。传统的沐浴就是将木桶中的热水泼洒到你的身上，也就是BTR演唱会上所表演的那样。最终，他完成了净化，穿着雪白的浴袍完成了切腹自杀。
- In fact, abiding by proper seppuku rituals, one must bathe and then put one a
white kimino (such as the one Kame wore during the water dance). You'll notice
that the kimono or robe that Kame was wearing at the beginning isn't actually
white at first. However, the more water is poured onto him, the whiter it
becomes, as if he is being purified by his 'bath'. Near the end of the water
dance, he is caressing his stomach and at the very end he flings his robe wide
open, exposing his abdomen - which is what samurais were to do right before they
plunged the sword into their stomach and dying (Kame falls and the lights dim).
- To answer why the colour of the robes kept changing, I believe this had to do
with wanting to actually show the audience that it was the water that was
causing the robe to turn white, to purify. I'll sure you'll notice that when his
robes turn red, it's cold water. And when it turns white, smoke rises off his
back because of the hot water. This can be possibly attributed to the fact that
in Buddhism the element of fire and the element of water is the symbolic link
of Buddhism. “The greater the challenge, the greater the fire, the greater the
purification,” says Venerable Dhamananda. This seems like a merging of the
elements, fire and water which the red and blue colours on his robe seem to
portray, similar to the merging of femininity and masculinity, sex and death etc
Bathing is traditionally done by pouring buckets of hot water over yourself,
which is what happens in the BTR concert. In the end, with a snow white robe,
completely 'pure', he commits seppuku.
MORE DETAILED BACKGROUND STORY
更多详细的幕后故事
有趣的地方：
这一段因为有很多很零碎的信息，所以悠悠就投一下懒，我就只翻重要内容管了>w<
在这一段：更多详细的幕后故事中作者讨论了一下1582词作者的问题，有提到n、n-Akira / n.Akira / n/Akira这两位，谈了KATTUN的歌和KAME的SOLO，但作者其实也没有得出什么结论。但是无论是不是KAME写的，他都应该了解兰丸的故事，也都应该理解这首歌的隐含意义。甚至即使不是他写的，他也一定请教过一些人来帮助他诠释歌曲。
一个FAN曾经写信给KAME说她认为1582是一首有关草莓内裤（悠悠注：好囧啊！我不确定翻对了没有，可是pants 不可能pant（这个词只有动词）的第三人称动词形式，所以只能是这个解释了，因为好像在极道宣番里看见过有关这个搞笑段子！orz~~~）的歌，因为这个在日语中的发音很类似1582。KAME这是一个秘密不能回答。一个礼拜之后他说这首歌是从身处战火的女性视角出发写成的。
在2009年6月的Myojo杂志中，KAME说1582是一首反应深陷爱河的女性的深情且承重的情歌。这个时候KAME显然是根据专辑的版本说的，因为他完全没有提到男性。我认为专辑版本的确是女性视角，尤其是它与演唱会版本在歌词上有很大的变化。
Interesting Points:
- The lyricist is credited as 'n' Which just screams 'I'm not telling!' (thank
you black_rose45000) Another one was Kame's solos' lyricist is credited as
n-Akira or n.Akira or n/Akira. I'm not going to make any assumptions about what
this means, it's the only other time 'n' has appeared in a Kat-tun song. But
seriously, the lyrics of the other solo, 'W/O Notice' is so different haha,
cause "Chuchuchuchuchuchu" just doesn't give off the same vibe as "Spill this
blood and bathe in it" ne? xD;; Also, regardless of whether Kame wrote it or
not, it is not possible that he doesn't know the Ranmaru story or didn't
understand the implications of the song. Even if he didn't write it, I'm sure he
asked someone else to help him whilst dictating the whole way through~>w<;;
- (thank you annneonet for this) A fan wrote to Kame saying that she thought
1582 was about strawberry pants because that's what it sounds like when '1582'
is read in Japanese. Amused, Kame ran with it. When asked to comment about the
song 1582, Kame said that it was a secret. A week later, he said it was from the
POV（point of view?） of a lady during the Warring states. (Hohoho, suddenly changing I see~>w<;)
(thank you nono96) In Myojo 2009.06 Kame said, 1582 is a "profound and serious
love song of a woman who drowns in love". Kame was talking about the Album
version obviously because he doesn't mention the male persona. I think the
woman's POV does work for the album version, especially with the big change in
lyrics.
KAME也这是一首非常日本风的歌曲。
如果在他最新的电视剧完美小姐进化论中扮演的是森井兰丸（就是校内扮演的角色）那一定非常有趣，因为这个名字就是源自兰丸的。
兰丸（当然还包括织田）是电脑游戏中非常流行的角色，在大多数的情况下，兰丸是由女性声优配音的。
KAME的狗狗名叫小兰。
JIN有一只狗叫“丸”（虽然这是非常普通的名字）
织田信长是KAME和JIN都非常喜欢的武士。JIN在他们2006年出道以前曾经说过他是信长。
还有有趣的事件：根据历史记载，兰丸在他6岁的时候第一次遇见织田直至他们死去时他17岁，他们在一起11年，猜猜谁刚刚庆祝了他们的11周年>w<（悠悠注：强大的亲啊！YY地非常有才情啊！崇拜！）
- Kame also said it was very strongly Japanese flavoured.
- It would have been funny if Kame was asked to play the part of Morii Ranmaru
in his newest drama Yamato Nadeshike Shichi Henge, since the pretty boy/ladies
man's name is derived exactly from Ranmaru's xDD;;
- Ranmaru is a popular character especially in video games (Oda as well), and
most often than not, Ranmaru's character is voiced by a female.
- Kame has a dog named 'Ran-chan'
- Jin had a dog named 'Maru' (although this is quite a common name)
- Oda Nobunaga is both Kame and Jin's favourite samurai- (thank you
forbiden_past) Jin once said before their debut in 2006 that he was Nobunaga
- Fun fact: according to most historical accounts, if Ran was 6 when he first
met Oda and died when he was 17, that means they spent 11 years together...
Guess who just celebrated their 11th anniversary? >w<;;
JIN的声音？
我没有能听出JIN的声音，不过有一些人说他们听见了，所以我就在这里提出这个，至于怎么判断就留个你们各位自己去听了^^
Sweetpaopuwind指出有一些其他人的声音可以在KAME唱歌的时候背景音中被听出来，是一个没有被处理过，比较自然的声音，然后他指出这个声音很像JIN的。
Aoisynchro说在下列这些时段里“01:08 - 01:12//02:26 - 02:30//03:26 - 03:36”JIN的声音还是比较明显的。
这些只是一些小道，我们是不可能找到正解的。
（这一段作者在罗列一些没有办法求证的旁证，不似她之前的分析那么严谨）
Theory - Jin's Voice?
- I cannot hear Jin's voice, but some people have said they can and some have
said they couldn't, so I left this in here for you guys to go listen for
yourselves and decide^^
- sweetpaopuwind pointed out that sometimes another voice can be heard singing
in the background with Kame, a natural voice, not the distorted, altered one.
And she pointed out that it sounded like Jin.
- aoisynchro says that Jin voice is especially prominent at these moments "From
01:08 - 01:12//02:26 - 02:30//03:26 - 03:36"
This is just for fun. We'll never know the answer.
ONTO THE ANALYSIS OF THE LYRICS:
关于歌词的分析：
古代语言的使用（从专辑版本能来出来）
用汉字"hitomi" (瞳)被用来代替"me"（眼睛）
动词以"nu" (ぬ)结尾，是古语中非正式的否定（例如：他“hath”，他祢（didst）等）
“izuko” (何処)是一个比较过时的说法（常见：“doko”）
用过时的汉字“朱”来表示"aka" (赤)
非常重要的一点："Watakushi"在专辑和BTR版本中都用了三次。"Watakushi"是一比较谦逊的表示我“自己的”的用词，通常被用于受人尊敬的人。也可以被男子、女子使用，但更常用于男子。
在歌里“SI”出现了2次。应该是代表汉字“死”的意思。
从1582的BTR演唱会表演中看，可以得出这样几个结论：
KAME在唱第一视角（兰丸）的时候是在说他与织田之间的关系
在他们死前KAME是同时以两个身份在演唱
KAME是以兰丸和织田这两个身份在唱
Archaic language utilised (looking just in the album version):
- The kanji for "hitomi" (瞳) was used for the reading of "me" (eye).
- Verbs terminated by "nu" (ぬ) which is an Archaic informal negative ("he hath",
"he didst", etc)
- "izuko" (何処) is an out-dated reading (normal: "doko")
- An out-dated kanji (朱) was used for the reading of "aka" (red)
- Very importantly: "Watakushi" is used three times, in both the Album Version
and the BTR Version. Watakushi is the most polite form of referring to ones'
self, reserved for speaking to highly respected people. It is used by both men
and women but preferred by men.
- The word 'SI' appears twice in the Kanji version of the song. It is most
likely suppose to represent the kanji '死' meaning death.
From looking at the BTR live performance of 1582, several theories were born:
- A. Kame was singing from 1 person's perspective (Ranmaru's) about the
homosexual relationship between Oda and him.
- B. Kame was singing about a heterosexual couple right before their demise, and
he played both parts.
- C. Kame was singing as 2 different people, Ranmaru and Oda
KAME (ALTHOUGH DRESSED LOOKING LIKE A GEISHA) WAS NOT SINGING FROM A WOMAN'S POV
BUT RANMARU'S.
KAME(虽然穿着很像一个艺妓)但是这首歌不是女性视角而是兰丸视角
兰丸因为他的女性美还著名。据说一个外国使节在看见兰丸时惊为天人而一时失语了。
兰丸在他12、13岁时没有像其他男孩一样剪掉他的头发。
兰丸经常被一些遇见他的男人误认为是女性。
根据历史记载在织田死时，他的身边没有其他女性（在传说中大家都认为兰丸是织田死时唯一守在他身边的人，这就是为什么KAME以女性的声线来演唱变现的他们死亡的段落的原因）。织田和他妻子的婚姻是没有爱的，这首歌诗反应一对情侣在他们死前的哀伤与幸福，哀伤是因为即将四万个，幸福则是因为可以永远在一起。
在因为开始前，男舞者绕着舞台挥舞着旗帜，男孩则挥着剑。这个就是正在进行战斗的证据，强调这首歌是有关本能寺之变的。
在舞台顶部的电子屏上出现了长达2分钟的寺庙的影响，织田和兰丸就是死于京都的本能寺的。
- Ranmaru was known for his feminine beauty. It is said a foreign consul once
fell speechless in awe upon gazing at Ranmaru
- Ranmaru never cut his hair as boys do when they reach of age (12-13 in those
days)
- Ranmaru was often mistake for a woman and hit on by many men.
- Historical records all show that no woman was anywhere near Oda when he died
(Ranmaru is known in legends as the only one who was there with Oda, so why
would Kame be singing about a female mourning for their parting in death?) also
Oda had a very loveless marriage with his wife, and the song is about the
sadness and happiness a couple experiences before they die - sadness at the
prospect of death but happiness at the idea of being together forever.
- Before the music starts, men waving flags round across the stage, boys wield
swords. It is very evident that a battle is taking place - highlighting that it
is about the Incident at Honnouji.
- A temple is shown at the top of the different screens for 2 minutes max -
Honnouji was a temple in Kyoto that Oda and Ramanru supposedly died in.
就是兰丸防火烧了本能寺的，他们被火焰包围，这个就可以解释为什么KAME在进行绚丽的烟火表演时要在通过不断的旋转，是的火焰看上去好似吞没了他。
在歌开始的部分，可以听见噼啪声，非常类似火燃烧时的声音。
我之前也提到过，兰丸没有剪掉他的头发，也没有梳成年男子应该梳的发型。在BTR的表演中，他把发夹抽掉，甩开头发，强调它的长度。而真正的武士造型，是应该吧头发梳起来。
- Ranmaru was the one who set fire to the temple, surrounding them in flames - a
possible explanation for Kame's stunning display of fireworks engulfing him as
he spins round and round.
- At the beginning of the song, there are sounds of crackling, like fire
burning.
- As I mentioned before, Ranmaru did not cut his hair, and did not assume the
hairstyle of the adult. In the BTR performance, he pulls his hairclip out,
shaking his hair free, emphasising its length. In true samurai fashion, he would
have kept it tied up and pulled off his face.
其实他穿着像一个女性，不过很明显KAME在这件衣服里面穿着武士衣着，这也是如今兰丸比较常见的造型。
他的女性的外表也十分类似兰丸的。
如果考虑比较普遍的观点，KAME在BTR演唱会上扮演了两个角色，首先是女性，然后在他脱掉外袍的时候，他在随后的部分就以男性的身份来演唱了，但这个解释就无法解释之后出现的三次“”（watakushi）。第一个出现是没有问题的，它在第13句，出现在KAME脱下外袍变成男人之前。Watakushi是被又来指有较高地位的人且尤用于男子——妻子通常用这个词来介绍丈夫。这个就不能解释为什么第2次出现在第40句的watakushi以及第三次出现在第52句的watakushi了。如果你看过演唱会，这是发生KAME脱下外袍后变得更男性化之后。兰丸是可能在提到织田时使用watakushi的，兰丸终究也是一个职位较低的家仆。但是，在那时织田是绝对不在同他的妻子与小妾谈话时使用watakushi的，因为在那时男性不女性重要的多。由于织田的地位比较高，他也不会再同兰丸谈话时使用watakushi。在他临时前，也没有人能够比第一个征服全日本的织田拥有更高地位的人。这些都说明这首歌的后半部分即使表现的是一个男性，也不可能是织田，但她确实是表现一个男子的。
- Even when he was dressed as a woman, it was very clear that Kame was wearing
samurai garments underneath that Ranmaru is commonly depicted in now.
- Even his 'woman' appearance is very similar to Ranmaru's actual supposed
appearance
- If the general consensus was to be taken into account, that Kame was two
distinctly different people in his BTR performance - first a woman, then he shed
his robe and sang as a man for the rest of the song - then that does not explain
the appearance of the three 'watakushi'. The first one is fine, it appears in
line 13, before Kame had divested himself of the robe and becomes a 'man'.
Watakushi is used to refer to people of higher statues and although is neutral
is preferred by men - sometimes used by wives to address husbands. What is not
explainable is why a second 'watakushi' appears in line 40 (album/BTR version)
and a third 'watakushi' appears in line 52 (album/BTR version). If you watch the
live concert, this is after Kame has taken off the robe and becomes more manly.
Ranmaru would definitely use 'watakushi' to refer to Oda, Ranmaru was after all
a male servant of a lower rank. However, never in a million years would Oda use
'watakushi' when speaking to his wife or concubines, as a man in those days, all
males were more important than females. Oda would not have used 'watakushi' to
Ranmaru either as he was of a higher position. At the time of his death, there
would be very few people who deserved higher respect than Oda as he was the
first to conquer Japan. Thus showing that the male, at least in the later half
of the song, cannot be Oda, but is still a male.
据推测兰丸也不可能是对织田的女人，或者其他的女子唱这首情歌。兰丸把他的一生都献给了织田，织田是他一生的唯一意义，兰丸对织田非常忠诚，我从来没有听说过有关兰丸与某个女子的轶事。
KAME唱到“一天又一天我和你一同仰望梦想与闪烁的星星”（第46句）。织田于兰丸相处的时间最多，兰丸几乎没有离开过织田身边。他对他的主人非常了解，总是能在他的主人行动之前不可思议地猜到他的心思。他是唯一一个可以让他的主人在暴怒后冷静下来的人，也是可以非常合织田心意地完成任务的人。
Presumably Ranmaru. Who would
not be singing a love song with Oda's woman. Or any woman. Ranmaru devoted his
entire life to Oda, Oda was his sole purpose in life, and Ranmaru was fiercely
loyal. Never have I seen any mention of Ranmaru and a special woman.
- Kame sings "Dreams and shattered stars which I saw with you day after day"
(line 46) The person Oda spent the most time with was Ranmaru. Ranmaru was known
to the person who never left Oda's side. He knew everything about his master and
had the uncanny ability to guess his master's wishes before hand. He was the
only one who could calm his master down in a fit of rage and was able to
organise things in a way that pleased Oda.
在歌曲中一些地方的喘息、吞咽、呻吟、亲吻的声音有重叠，好似是两个男子在一起。
在演唱会上，KAME唱的是歌曲中人声的那部分，被电音化过的声音是作为背景音乐的。这个明显的声音的变化方式让人觉得这是两个人在同时演唱。想要永远抓住对方永远在一起的愿望通过他们重复对方的话语得到了加深，例如：当他们唱道：“诱人的话语，治愈伤口（誘い文句 傷を癒す）”在第7、8句。
- There are noises of panting, slurping, moaning, kissing, and sometimes these
noises would overlap as if it were two men together.
- When singing live, Kame sings the normal parts of the song, but the altered,
slightly electronic sounding counterpart is left to the background music. This
distinct change of voice types serve almost to imply that it's two people
singing together. And the idea of 'togetherness' of holding each other forever,
is compounded through their echoing of each other's words. E.g. when they sings
"tempting complaints//heal the wound" line 7-8
当你在听BTR演唱会版本时还有一点需要强调，在非常靠后的一句与专辑版不一样，在专辑里唱的是“这些是温柔吗？瞬间改变的神色，请一直住处我，用您充满爱的（優しいのやら何なのか 一秒ほどに色を変える ずっとずっと私を その手で掴んでいて 愛で ）”（第50-54句）。但是在BTR演唱会中，你可以发现KAME没有唱这几句歌词，这些歌词是通过背景音乐唱出来的。如果你听过，你就可以听出来这个很像两个不同的人在一时间唱（也有可能都是KAME的声音）。在同一个时间，当听见“这些是温柔吗？瞬间改变的神色，请一直住处我，用您充满爱的”时，在它的后面，你还可以听见“哦~我哀悼我孤寂的王妃，瞬间改变的神色，眼神久久地传达着情感，久久地”在同一时间被演唱。
- This is further emphasised by, if you listen to the live BTR version, the very
last stanza is different compared to the album version. In the album version, 1
voice is singing, "What is this tenderness?//It changes colour every
second//Forever and ever hold me in those hands with love." (line 50-54)
However, in the BTR concert version, you can hear that Kame doesn't sing this
stanza live, the voices are altered and it is coming from the background music.
And if you listen, you'll hear that it's almost as if two different people (even
though it's all Kame's voice) are simultaneously singing. At the same time "What
is this tenderness?//It changes colour every second//Forever and ever hold me in
those hands with love." is heard, under it, you can pick up "Oh I lament the
lonely princess//It changes colour every second.//For these eyes will express
these feelings for a long, long time.//Is it love?" being sung at exactly the
same time.
有一句KAME在BTR版本中有唱，但在专辑里没有这句歌词。他唱道“哦~我哀悼我估计的王妃（Kodoku wo kanashimu hime yo）”（第32句）。一些人认为这个是一个男子为它孤寂的王妃而感到哀伤，但我有不同的观点。首先，织田的妻子，浓X(nohime)(悠悠注：没能翻出来！)，一般被称作浓姬(noh)或者是美浓（mino）公主。如果这是提及织田的妻子，为什么是一个男子（因为在这个时候，KAME已经完全是一个男子了）说他哀悼他估计的王妃呢？整首歌都反映了他们希望永远都能用充满爱意的双手抓住彼此并且即使死也要一起能够化成永恒的心愿。如果比较审慎得看待的话如果这是兰丸因为要留下她孤独一人，而在诉说他的歉意的话，与此同时却将他的余生给予了他的主人。
也有人认为，这个也许是织田的一个小妾，诉说他对织田妻子的不满，但是KAME在这里显然是个男子。这里看起来也不想是从一个情妇的视角来诉说一个男人。这些也不像是一个16世纪女性应有的举动。
- This idea of 'togetherness' then contrasts with a line Kame sings in the BTR
version but is left out in the album one. He sings "Kodoku wo kanashimu hime yo"
meaning "Oh I lament the lonely princess." (line 32) Some people have taken this
to meaning the male is sad for his lonely princess, however, I have a different
interpretation. Now first of all, Oda's wife, Nohime, was often known as
Princess Noh or Princess of Mino. If this is referring to Oda's wife, why would
the male (because at this stage, Kame had become distinctly 'male') say he
laments the lonely princess? The entire song perpetuates the idea of forever and
ever holding each other in their hands with love and being together permanently
in death. It seems much more prudent if it was Ranmaru who was saying that he
felt sorry for the woman because she is left all alone, whilst he will spend the
rest of the afterlife with his master. It can be argued of course, that perhaps
this is Oda's concubine, saying she feels bad for Oda's wife, however, Kame was
clearly and obviously male at this point. It doesn't seem as if he would be
singing about a man from his mistress' POV with half of his bare chest showing.
Now is that the proper way for a 16th century Japanese lady to behave? xD
感觉KAME在专辑里似乎不想将歌曲与本能寺之变联系在一起。如果你注意观察，黑体字的部分是改变过的。（悠悠注：因为是贴吧的格式，所以不是很清楚作者这个指的是哪部分）同时在BTR版本中，第19-35句也都包含了更多死亡、切腹自杀的内容。第19-35句地道了鲜血的溢出，浸染在鲜血中，满是伤痕的身体，浸入等等都是证明这里提及的是切腹自杀仪式的证据
- It appears as if Kame is trying to disassociate the album version with the
events at Honnouji as much as possible. If you refer to the above, the areas in
bold are changed. Whilst in the BTR performance, line 19-35 encompass more
references to death, and suicide by seppuku (as mentioned above, where the sword
is stabbed into the abdomen, and pulled to the right then to the left for a
number of times, and then usually another samurai would cut your head off - this
was seen as the greatest and most honourable way to die - before in Japan, they
believed, the greatest revenge lay in dying a good death.) Line 19-35 refer to
spilling the blood, bathing it in, a body littered with wounds, plunging in etc.
The references to this ritual suicide is much more evident
（三岛由纪夫的爱国主义把切腹自杀描述成为是需要许多细节的，也谈到了死与性、欲望和爱的纠缠，就如同我们在1582中所见到的，也是在日本非常流行的观点。有一个爱国主义者的总结很好，他说，“死是他现在正在等候的？或者说是一种狂热？或者说是两者皆有”）。鲜血需要大量地溢出，才能感觉好像是被雪浸染。但是专辑的版本里传递的是一个非常含糊、难以理解的信息。布满伤痕的身体被一个较为有比喻意味的短语替代了，就是“布满伤痕的心”，用“注视着你就能被治愈”替代了“沐浴在鲜血中被治愈”。在BTR版本中有表现出灯光黯淡下去就不曾再亮起（非常强烈的死亡寓意），在专辑中责备更为柔和，中性的表达“我们明天无法去到别处，你怨恨吗？”替代。这个一个试图不如此直接的（不是隐藏）（因为这个很明显也是表达死亡）以歌词来向观众强调这个死亡的暗示。（专辑里是）利用“SI”的发音来表示汉字“死”，演唱会中的这个地方时通过KAME的在演唱“SI”这个音的时候只发了第一个音，同时他将手指按在嘴唇上看似是为了保守秘密，而将它发成了“SHHH”。
(Yukio Mishima's Patriotism describes how seppuku is committed in great detail - also how
sex/lust/love is entwined with death which we see in 1582 and was a popular
thought in Japan. A line from "Patriotism" sums this up nicely, "Was it death he
was now waiting for? Or a wild ecstasy of the senses? The two seem to overlap.")
blood indeed is spilled in great quantities, until it does feel as if one is
bathing in it. However, the album version conveys a much more vague and
ambiguous message. The body littered with wounds is replaced with a very
figurative and very metaphorical phrase of "heart littered with wounds". Instead
of being healed by "bathing in that blood" the wounds are "healed by watching
you." Whilst the BTR version mentions, the light being doused and never
returning again (much stronger connotations of death), it is replaced in the
album version with the softer, more neutral, "we're not going anywhere
tomorrow//Do you hate that?". This idea that someone is trying to - not hide,
per say - but slightly distract (because it's still obvious it's about death)
the audience from the direct implication of death is highlighted in the lyrics.
Instead of utilising the kanji 死 meaning 'death' pronounced 'si', it is replaced
with the capital letters of SI and Kame sings it as "shhh" placing his fingers
to his lips as if keeping a secret.
这个就是我感到和迷糊的地方，“我现在在哪里，为什么在这里呢？（第4句Watashi wa ima naze doko?）”。在歌的后面部分有更古老的这些次的形式经常被用来代替“watashi（watakushi）”和“doko（izuko）”。但是在开始的时候则用了比较现代人的说法，这个对理解这个人到底是谁造成了困扰。这个是KAME?还是作为鬼魂出现的兰丸？这个是我的问题因为在我的印象里“watashi”和“doko”都是比起他们来说比较现代化的用语。“watashi”是本场规范和正式的“我”的发音，用得范围很广，也很中性。这个也不是一个证明KAME扮演的是女性的暗示。同样我也认为“doko”是一个非常现代化的词，尤其是在我找不到其他可以比较好的证据证明其实不是其实我已经查了一个小时了（T-T）。根据我的认识，doko是一个比izuko更现代化的词，从古代的类似的词，如同izuko变成idoko，再变成doko，但是这两个词似乎同样都可以用在有关封建时代的歌中。我找到了无数这样的歌（也包括电子游戏等）都有izuko与doko同时使用的情况。所以我推测即使doko比较现代化，它也依旧可以在之前的时代中使用。
- This is a line that got me really confused for a while "Watashi wa ima naze
doko?" (Line 4 - Where am I now and why?). There are more archaic forms of words
used to replace 'watashi' (watakushi) and 'doko' (izuko) that are seen later in
the song. The beginning seems to be a more 'present' person speaking which led
to a whole boatload of confusion as to who this person was. Was it Kame? Was it
Ranmaru as a ghost reflecting on the death? This is my fault as I was under the
impression that watashi and doko were much more modern then they actually were.
"Watashi" is the most standard and formal form of the pronoun "I", used almost
universally, and is neutral. i.e. can be used by both genders except people give
funny looks to young boys who use 'watashi' but that's about it. It's not an
indication that Kame was playing a woman. Also I thought 'doko' was a very
modern word, especially since I couldn't find anything that really proved
otherwise and I searched for an hour (T-T). To the best of my knowledge, doko is
more modern than 'izuko', it's archaic counterpart, as izuko became idoko which
became doko however, it seems as if both words can be readily used together in
songs about the Feudal Era. I found a myriad of such songs (mostly used for
animes, video games etc) where both izuko and doko were used. So I assume this
meant that although 'doko' is more modern, it can still refer the time period
just fine.
这个就使整首歌的理解变得容易了一些，因为这个第一段充满了“濒死”的感觉。轻轻的消失、永恒的沉睡，困惑，麻木等等这些控制着它。对我来说，这一段是兰丸在死亡的边缘，那最后的几分钟里，他或者是他们一起低吟的祈愿永恒相守——就好像是在切腹自杀之前写下的死亡之诗。
This makes interpreting the song a whole lot more easier, because the
entire first stanza had the feeling of 'nearing death' to it. The light
disappearing, the permanently sleeping, the confusion, the numbness that is
controlling him etc etc. To me, this stanza is Ranmaru on the brick of death,
and in the last few moments, he or they sing about being together forever - like
a death poem written before seppuku is committed.
-------------------END-----------------
因为能剧那部分的内容很多，估计一些亲也不太了解，其实悠悠自己也不太懂，为了帮助大家看文章，我就稍微梳理下，并没有按照亲写的文的顺序，我根据自己的理解罗列了下要点，希望能有帮助：
1） 从整个表演看KAME的1582在表现手法是运用了能剧的方式，这个是大前提，如果这个不成立，之后的分析就是空中花园了。
2） 能剧中几乎没有女性出演，所以可以PASS掉认为这里KAME是女性的观点。
3） 开始时的面具，类似HANNYA MASK（一种由嫉妒的女性化成的鬼），但是因为几处明显的不同，以及联系织田信长“第六天魔王”的外号，还有戴面具时举起扇子上的龙的图案，推定一开始戴面具的角色是织田信长。
4） 折扇，折扇的意义很多：a)它的开启闭合表示角色的出现和离去，所以当第一把折扇合上时，织田的角色就离场了。b)两把折扇有大小，所以较大的第二把扇子才是代表主演的扇子。C)折扇上的图案，第一把已经说明了，第二把上是牡丹，在日本文化中也是兼具男性与女性双重性的图案。
5） 移开面具，a)角色从主角降为配角，b)在能剧中扮演女性必须戴面具，其他需要面具的还有重要的历史人物，鬼神等。只有表演普通男子可以不戴面具，所以和也不可能是扮演女性。排除了浓姬。
6） 舞蹈动作：是男子的舞蹈，一般都是由表演武士的人跳的。
7） 歌词：这一部分我很弱，但是通过这个可以排除之后和也再转换成了织田，因为很多歌词与织田的性格特点不相符合。（佐证：之后用来表示角色出现离开的折扇没有再改变过）
8） 衣着服饰：这个比较直观，就是演出的衣服有一些女性化，不似织田的衣着，而发型，和也的发型既不是女性的发型，也不是武士的发型，比较契合的就是兰丸了，因为他一直保持着孩童的发
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