232 THE POETRY AND PROSE OF MATSUO BASHO

Rotstl came as far as the Tsuruga harbor to greet rne,and together we wcnt
tO MhO Pro nce With the id Ofhoβ es,we traveled to Ogah SOra ldned us
flom lse Etsulin ga1loped in on horseback,and we gathercd at the house Of
JOk5 Zensenshi,Keiko,Keiko's sons,and other intimate acquaintances visited
day and night Forth9m,it was like meeting someone who had returned frOm
the dead They were both Ovettoyed and sympalhetic ttthOugh l had not yet
recovered from the wearincss of tl■ e ioumey,We set or again on tl■ e sixth Of

the Ninth lonth Thinking to Pay our respects to the great shrine at lsc,v′ e
boarded a boat

¨ Cん αρι
ar 6
hamagu nO Aut■ lmn going―
futami ni wakare Paring for FuLami CHIKAMATSU MONZAEMON AND
yuku aki zo a clam pried flom its shc1197
1NKBZ 411 341-386,translatcd by HaruO Shirancl
THE PUPPET THEATER

EARLYJORURIAND KABUKI
The art Of′ δ
rltri(chanting),WhiCh lies at the heart Ofthe puPPet theater(bし れ―
惚た
し),Can be traced back tO the late fftcenth centuヮ when blind minstrels
chanted the stOw OfYOshitsune(UShimakamaru)and hiS love affair with Lady
ηSο 々:)in the slli71々 ο々insみ ,(1205'Autumn l,nos 361-363),WhiCh include Priest JakurCn、
(Sα
Jδ ruri(Jδ ruri hime),whOm he met while travcling in northern JaPan(BeCause
“Loneliness is not any pttticular color一 a mountai■ of black Pines on an autumn evcning"In
contrast to the“ flont"oflaPan,thc castern sidc ofthe DeeP North,which aPpearS bright,warm,
the story、 vaS diVided intO b″ elve sectiOns,it was alsO called the TP′ Iッ ￠_S2ctjο 77
and iOyous in O々 υη ολο somic力 i,the“ back"of,aPan,extending frOm Kkagata in the no■ h to Bο o々 ,Orチ Jη Jdα :)J5ruri,tlle chanting ofthe stOtt waS Originally accOm―
"z5sん
lrO no hama to the soutll,ζ imbucd with a monochromaic,mis● llled,white_ish,moonl■ ,lonely Panied by a bj″ こ(lute),probably dmilartO the Hcike sサ le Du ng the sixteenth
atmosPhcre ln a haikai bvist,the quietloneliness oflrO nO han■ a,an obscure beach on the“ back century,however,the biwa was replaced by a sあ ″(a three_stringed baniO―
side"oflaPan,、 Cた itα 池)一 a phrase rcminkcent ofthe ludgmentsin waka
均udged suPeriOr"(々 α `772iS￠
like instrumentimportcd iom China in the sixteenth centu7),WhiCh differed
jη 々
ο々
poetヮ contests(υ ι
αal17α sο )一 tO that of Suma as well as to the famcd loneliness ofthc Sみ iη
signiEcantly in tOne Then,as early as the 161os,PuPpetS V′ ere added,trans―
sみ
` Instead of rcattrming the classical culture Of tlle caPital,tlle provinces have become a fOrming the cOmbination into a tlleatrical genre
wellsPring Of POetic sensibiliり ,a new carrier of cultural memow,that cOuld match,if not su‐
pclsede,tllat of thc classical and mcdieval Past ThrOugh the early seventcentln centu7,the puppcts were relativcly simple,
97 Bash5's hokku turns on a series of homoPhones:wこ α■ means both``to depart for''and
々 each held by One puPpcteer Later,from abOut 1734,SOphisticated thrce_man
“
“
to tcar flom,"and Futami refers to a noted Place on the coast oflsc Province(tlle travcler's ncxt
PuPpetS,theサ Pe seen On the contemporav bunraku stage,were deve10ped
desinalon and a place known tor clams)as wCll as the shell(ル tα )and bOdy(7721)Ofthe clam
TOday a puPPeteer bcgins his carecr as thc Operator ofthe dOll's feet,an art that
(ん αmagυ ■)The Phrase“ autumn going"(ソ した υ i)diCCdy echoes the Phrase“ sPring going"
`々 usually requires ten years tO master;graduates tO the manipulatiOn of the left
(ソ
ι々υ力αrtr)in tllC POem at the bcginning ofthe narraive Thc pasjng ofthe season becomes
an implicit metaPhOr for nOt Only the sorrow of Parting,which lies at thc heart oftravel,but also
hand;and then,inallb after lnany years of eゅ erience,attains the POsitiOn of
the ceaseless PasSage of timc,thc traveler's constant comPanion head PuPPeteer,v′ ho controls bOth thc head and the right arln The main
234 CHIKAMATSU MONZAEMON AND THE PUPPET THEATER CHlKAMATSU MONZAEMON AND THE PUPPET THEATER 235

PuPPCteer usually wears a formal dress and has his tace exPoSed,while the 0kuni's kabuki dance attractcd many imitators around thc count■ /and led
iuniOr manipulatOrs ofthe feet and lc■ hand are dressed entirely in black with to the se ofο ηηα(WOmcnゝ )kabuki Thc courtesans in the Pleasure dist ctin
a h00d covering their head and lace The bunraku dolls, 、
″hose heads are
町OtO,fOr cxamplc,iequently gave erotic Performances at Shii5gaWara,on the
gencrally catego zed by sex,age,and character(such as good,evil,Or cOmic),‐ dry rerbcd at Shii5 Bridge These iemalc kabuki trOuPeS One ofthe most
rangc in size flom b″ o and a halfto as much as ive leet tall and may have ぬmOuS bCing the Sado lsland kabuki grouP― V/ere so Popular that they、 verc
movable eyes,eyebro、 vs,mOuths,and ingers inVitCd tO the castle to、 vns by various domain lords and traveled to give Perfo「
A rclatcd genrc was sι た
り5ろ し
Sん j,sermon ballads,which date back to the
lnnanCes in mining and Port towns The performances of women's kabuki,
Kamakura pcriod and chanted,to the accompaninlcnt Of rnusical instruments, mainly PopularsOngs and dances,were mixed in with``teahouse entertainment"
sto es(such as K″ た″,Sα η
υ sた δ
dσ ″」,and oη gα π
og凛 万ん )abOut the POwer Sο ら
αα 」)in whiCh the courtesans Played thc shamiscn,an instrumcnt of
`ソ
ofgods or the origins ofshrincs and temples Sekky5bushi also began using the the vhich they entertained their
"ん liCenscd quarters,and revcaled othcr v/ays in、
shamお en and then puppets in the Kanei era(162牛 164)Thお genre reac隈 d custOmers attheirteahOuses or brothels ln aサ PiCal“ tcahouse"dramatic sketch,
is hcight in the 166os(during the Mani■ Kanbun eras)and then,at least in the the female star Ofthe troupe,dressed as a male customcr and accompanied by
urban ccntcrs,v/as abSorbcd into the i5ruri traditiOn a leSter,wOuld visit the madam of the teahOuse,a male actor dressed as a
BOth kabuki and i5ruri cmerged in the early seventeenth century and 10ur_ woman The cross― dressing and sex rcversal gavc the audicnce a highly crotic
ishcd thcrca■ cr as POpular entertainment ln contrastto n5 andり 電￠
れ(Comお charge,rnuch as(Dkuni had The perfOrmances,ho、 ァ ever,、vcre too provocative
drama)― two medicval dramaic gcnres that conlnued to be staged but whOse for the bakuh(government)In addilon,they caused ights among the spec―
audience was largely samurai Or merchant eltte一 kabuki and i5ruri Were aimed tatOrS fOr thc personal favors of the femalc entertainers― tor whOm the kabuki
at a wide audience Bunraku(PuPPet theater)conSiStS of three clementsi the was a means of luring customcrs― ―and resulted in the bakultl's banning
puPpets,music(shamisen),and Chanting(15ruri)baSed On a text and Per10rmed women s kabukiin 1629
by a taソ こ(chanter),who SpCaks Or sings all the roles,including the third_pcrsOn Vith the abolition Of v′ omen's kabuki, the sPotlight shined t。
ヽ ″αたos12υ
narration Unlikc kabuki,v/hich Originally emerged llon■ dance,、 vith thc actOr's
(bOyS')kabuki,Which had existcd flom as early as the medieval period The
body and vOice asthe center ofattention,the art ofi5ruri focuses on the chanter,
POPulariサ ofthese elegant dances was drivcn by thc crotic fondness atthistime
v/hO sits consPicuOusly on the side ofthe stage and is the undisPuted center Of lor male youths,and asin v′ omen's kabuki,the young actors Provided“ teahouse
attendon The coordination among the three elements― the actOrsゎ uPpetS, entcrtainmcnt''and Played the role of、 vomen Wakashu kabuki,ho、 vevcr,dil‐

music,and narralon― お a key to both kabuki and ioru ,but in cOntrast tO たrcd flom、 /onnen's kabuki in that it incorPoratCd aspects of other genres,es―
j)frOm kyOgcn and no drama Thisin turn
Pe9ially thc danccs(777α i and々 ο
kabuki,in which the actors are givcn PriOriり ,in iOruri the chanterwas originally 722α

ranked above the shanlisen Players and thc PuPpCt OPCrators lndccd,the ioruri lcd to the develoPmcnt of buソ 5,a distinct kabuki dance s、 /1e that rnerged、vith
(Chanting)iS SO important that it O■ cn is Pcr10rmcd a10nc,withOutthc puppets j)that had been atthe heart ofkabuki The honゝ
the earlier PoPular dance(ο dο γ
The term々 αbし た」ヽnow w ttcn w■ h three characters meaning“ song"(た dance and Other dynamic dances that rcvealed the Physical agility ofthe young
。rし た),“ dance"(bし Or maj),and“ Per10rmance or skll"(た 」Or gi),rCprcscnting male actors werc also incorPorated intO kabuki atthis timc As did thc pertorm―
the three central elements Ofthis theatrical gcnrc ln the Edo PeriOd thc々 ,was ers in、 vomcn's kabuki,the young actors in wakashu kabuki sold thcir favors to
usually、 vritten、 ハ
′ith the character rneaning``cOurtcsan,''giving thc tcrn■ a rnore male customers lndeed,Tokugawa lemitsu(16o416,1),whO becamc the third
eroic lavor The word o υ(tO ICan over,to
ginally came■ om the verb々 abし た sh5gun in 1623,｀ ハ
/as famous tor his intcrestin thc young actors and even had a
violate the rules of behavior Or dress,tO act wndly)一 that is,tO worlK against thc kabuki trouPc PerfOrm at Edo Castle The association of this kind of kabuki
established social or moral order,to cclebrate a liberated littsサ le and attitudc with prostitution,ho、 vcver,Proved tO be too much,and in 1652,a ycar after
The creation of kabuki is attributed to Okuni,a female attendant atthc lzumO lemitsu's death,the bakufu banned wakashu kabuki as well
Shrine,whO led a fenlale cOmpany that performed dance and conlic skctches BOwing to pressure flom the theater peoPlc,the bakuftl gave pcrmission the
on the dry bcd Ofthc KamO R erin 19oto in 16o3 AccOrding to documcnts, lo110、 バ
′ing ycar to rcstore kabuki on thc condition that thc rnale actors shave olf
Okuni drcssed as a man,relecting the kind Of“ wnd"(々 αbし たj)SPi tthat became thcir 10relocks(a Sign ofyouth)The result was yarO(adult male)kabuki,which
thc heart Of kabuki The Tensh5-Keich5 cras(1573-1614),When kabuki dance Stressed realistic drama,Inixed in humor,and wcnt beyond song and dance
bcgan,v′ ere marlted by this kabuki sPirit,｀ Vhich、 バ
′as taken uP by the 777σ C77'S/7', Nevertheless,the erotic dilnensiOn remained,and desPitc Pressure f10m the
K17oto's new townspeoPle wtth commercial wealth,and which became one of authOrities,kabuki continued under the guise of narrative dranla to perform
thc driving lorces bchind thc early mOdern culturc Scencs that featured the buying of prostitutes For examplc, Shilnabara ky5-
236 cHIKAMATSU MONZAEMON AND THE PUPPET THEATER CHIKAMATSU MONZAEMON AND THE PUPPET THEATER 237

gen― which bccamc enormously Popular and focused on a male customer,a bold,Inasculine characters who disPlaycd superhuman POu′ Crs in overcoming
high― ranking courtesan(tay・ l),and the owner of an agaソ o(Where high― levcl e ldoers ln the kabuki versiOn of Chikamatsu MOnzaemon'sB`ι ι
ras oFcoχ ―

courtesans entertained customers)一 acted Out on stage the customs of the li_ go,ヽ ヽ
4at5nai,the warriOr hero ofJapanese_Chinese parentage,is an example
censed quarter in Shimabara in,oto,ftlncloning as a kind oflive guide tO
`π
Of an aragoto role,and in T12￠ Lο た S2,cidas`ι A777'チ ,Jihei,the weak Paper
arca Shimabaraり Ogen Created the■ ove scene"(■ 27%ο ι ο),the“ PrOsitute '777ι
thお merchant who falls tragically in 10ve with the prostitute Koharu,became a noted
scene''(々 夕 igο ι
ο),and the“ dressed― down Orin_disguisc scene''(γ goι o), wagoto role
`tSuS/2′
al1 0f、 ハ
/hich
'S￠
became important conventionsin kabuki ttcr Shilnabara ky5gen ln both kabuki and the puppettheatcr,thc status ofthe Playwright Originally

vas banned for tlle same reasons that onna kabuki and、vakashu kabuki had
、 was c rcmely 10w The Playwrighピ s name did nOt aPPearin thC puPpcttlleater
been prohibited,the princiPal intcrest shilted to the Perforinance of the older scriPt or in the advertiscment for the play ln fact,Chikamaぉ u lonzacmon
adult male actor(yar5)Playing the rolc of a young female courtesan,thus was one ofthe irstto havc his name On the advertisement(々
`72b`72)and initially
reining the art Ofthc woman's role(ο ηηdg`滋 ),whiCh became a malor Part Of was criticized for it ln contrast to kabuki,however,whose texts were not Pub―
kabuki Performance Another key dcve10Pment Of yar5 kabuki,v/hich lastcd lishcd in full until tl■ e late nineteenth ccntu7,i5ruri texも were published in
frOm the 165os thrOugh the 168os,was the transition f10m a singlc actto multiplc their entireサ with thC irst performance,thercby making them widely available

aCtS(tSυ Zυ 々 δ
i々 ソg￠ 77)in the Kanbun era(1661-1673),a deVe10Pment that oc_

curred largely under the inluencc of n5 drama and the puPpettheatcr CHIKAMATSU MONZAEMON
ln contrast to the medieval performing arts,which were largely itincrant,
Chikamatsu Monzaemon(16531725)WaS bOrn in Echizen PrO nce,in what
15ruri and kabuki wcre usually PerfOrmed at flxcd locations,usually in the cities,
where adΠlission could bc charged to the audience Fronl around the Cenna is nOw Fukui Prefecture,on the JaPan Sea side ofthe countrtt Wherc his father,
era(1615-1624),the bakufll gave permissiOn for the construction of Particular Sugimo Nobuyoshi(16211687),Was in PerSOnal scrvice to the young daimy5
liccnsed theaters,which led to the develoPment Ofthe枷 o“ bad Places"(こ れ
‐ 0f Echizen His fathers stiPCnd ofthrec hundred々 ο々
じindicates that tl■ e family

ο):the was uppe「 class samurai and relat ely we1l ofF His mOther's father was the
Sん tl■ eater district and the licensed Pleasurc quarters The bakufu,whose
irst Priority v′ as to uPh01d the social order and Public sccurity,designated the dailny5's doctor,with a largc stipend ofone thousand々 0々 μ,and hcr fanlily also
bad Places"as sPaCes of controlled relcase(η α
“ gし s`772J),Where citizens'excess had K/oto connections When Chikarnatsu was fourtecn or iftccn,his famly
cnergy could bc channeled and、 vherc it、 vas understood that there v/ould be moved to Kyoto,wherc hc entered the service ofseveral courticr lamilies One
nO criticism of tl■ e existing order Those who went into thcse``bad Places'' was that oflch16 Ekan(16o51672),the SOn of EmPcrOr COY5zci and tlle head
entered an intoxicating,out― oithe― ordina7,fcst al― like world where tlle line ofthe lchi16 hOusc,fOr which Chikamaヽ u workcd until Ekan's death in 1672
beb´ /een realiサ and drcarn was blurrcd Kabuki and i5ruri exPlored this erotic, Through Ekan,Chikamatsu ParticiPated in courtier cultural lile in the late
extraordinary sPace、 vhile absorbing as much as it could lrom n5 and ky5gen 166os and early 1670S VЪ en he v′ as in his mid― b杯/enties, Chikamatsu began
｀
The CenrOku era v′ as a golden tirne for kabuki,、 ″hich Playcd to large and writing Plays IOr Uli Kaganoi5(1635-1711),tl・ e forcl■lost puPPet chanter ofthe
enthudastic audiences inゃ otO,OSaka,and Edo Ofthe mo main elcmenお of imein Iけ oto,and sOmetime later he startcd to w te kabuki plays as well As

kabuki,the sん οsagο tο (the buy5 dance pieces)and thC,iga(sPcech and mime; One whO came flom a relat ely well― off samurai familル served in the house―

drama),the latter underwent the grcater transformation at this time,leading to hOlds Of a membcr Of thc impe al family and othcr culturally active Kyoto
the deve10P■ lent of highly rcalistic dialoguc and acting sl/1es The threc most aristOcrats,and then went On to work for strect performers and kabuki actors
notable actors of CenrOku kabuki were lchika、 va Daniur5(166o-1704),WhO off■ cially considered as outcasts(々 α″αrσ ‐
たοヵ々
,,r erbed bcggars),Chikamatsu's

madc his debut on the stage ofthe Nakamura Theaterin Edo in 1673,Sakata eXPerience v/as highly unusual in thc strict social hierarchy ofthc day
T51ir。 (164717。9),WhO Came to fame in the Osaka― K/OtO region,and lbshi― Chikamatsu's carly iё ruri and kabuki were written in collaboration with Pcト

ZaWa∼ ame(1653172の ,」 SO ttOm,OtO,Who estaЫ おhed the art of■ e fOrmers,and his later mature works werc usually written in consultation with

onnagata PerfOrmers and managers Chikamatsu learncd hお trade as a i5ru writer from
ln the,oto― OSaka area,the center Of Cenroku culture,Sakata T51こ rδ
Per Kagano10 who Was almOst hvenサ years his senior and,fOr unknOwn reasons,
ο(sOft Or gentle)sサ le,in which
icted what later came to be called the lν agο ι did nOt a1low Chikamatsu's name to appear as the authOr Or cOauthor Of his
a townsman島 1ls in love with a courtcsan or prostitute,is disowned,and falls Plays The last performer in thc Oral tradition that held the chantcr tO be the
intO dittcult straiヽ /a Daniur5 Created the α
In Edo,Ichikぁ ハ gο ι
ο(rOugh)Sサ le, undisPuted source ofthe texts,Kaganoi5 was alSO a teacher and the emp10yer
“ ofTakemoto Cidayこ (1651-1714),the great chanterin Osaka and a crucial igure
which originated in tl■ e ciサ of the samurai and leaturcd courageous heroes,
238 cHIKAMATSU MONZAEMON AND THE PUPPET THEATER CHlKAMATSU MONZAEMON AND THE PUPPET THEATER 239

for hinnself The gap lei by Chikamatsu was illed by the lamOus Poet and
nOvelお t lhara Sa■ aku(16響 1693),WhO in 1685 WrOte tto worksお r Kagano15
for the Osaka audience The secOnd、 vOrk,at least,seems to have had sOme
success,but KaganOi5's theater burned dOwn,and KaganOi5 returned tO K,otO,
lea ng Cidayi,nOw ioined With Chikamabu,the seemingly undisputed ctor
in Osaka The cOllabOratiOn Of Chikamatsu and Cidayこ ,which cOntinued on
and otf until Cidaytl's death in 1714,Produced a new age ofi5ruri writing and
many of Chikamatsu's masterPieccs
By 1685,Chikamatsu was also writing fOr kabuki ln fact,his wOrk fOr the
kabuki theater dOnninated his creative energics flon■ the nlid_169os until hiS
うなえ;t inal kabuki Play of1705,during which timc most of his mOrc than thirサ sur
viving kab■ ki Plays v′ cre produccd ln this PeriOdハバ
′riters for kabuki、 ハ
/ere not
highly rcgarded,and Only a fcw theatcrs had Playwrights on their sta■ But
Sakata T51ir5(1647-1709),WhO became a kabuki star actor in the 169os,お
knov/n tO have cOnsidered Play、 ハ
/riting important to his success,and his rela―
tionship with chikamabu was one of mutual respect From 1693 unti1 17。 2,

Chikamatsu wrote almost exclus ely fOr T61ir5,WhO became famous as thc
creator of theゅ ot0 0Saka″ α
gο (soft)Sサ le of acting and focused On POrtra片
`ο
ing young rnen of goOd backgrOund M′ ho have Lllen On hard tilnes The shOv/
PieCe Was theソ σぉuSん J(diSguisc)seCtiOn,in which the herO,fOrmerly the heir
ilttSI守
器i鳳堺
1毅
胸
]黒 :F則 :f(誦
Shogakukan)
乳iati)]lh用 距勇
も 肌 Ofa samurai Or high merchant hOuse,is in disguisc as a poor,destitute ngurc,
having lost his POsitiOn Ov/ing to either his O、 vn PrOnigacy or the machinations
Of a younger brother Or disloyal rctainer The chmactic scenc v/as often set in
the pleasure quarter where T5iこ r5haS an cncountcr with his cOurtesan lover
in the develoPment Of i5ruri thcater ln his art treatisc,Kaganoi5 claims nδ someume in the 169os,T51ir5 made chikamaぉ u the sta∬ Playw ght at hぉ
drama as the Parent Ofi5ruri and desc bes i5ru aS fllndamentally a musical Miyako Theater in ttOtO,gi ng him inancial secu サfOr perhaPs the irst
drama constructed of acts,each、 vith a distinctive musical lnoodi ausPiciouS time in his lii Chikamatsu's exPerience of writing ive― act i5ruri Plays with

お漱
RttilSま 徹ifよ 胤解liⅧ 」
I絡!藷樅蹴〔
intcgrated P10ts Pro ded the flamcwOrk fOr his kabuki plays,which werc usually
in three acts made uP of di∬ erent scenes
and early 168os borrowed flom n5 drama and other classical JaPanesC SOurces Chikamatsu's involvement、 vith kabuki v/as crucial tO his later devc10Pment
The earliest work that is deinitely known to have been written by Chika― aS a i5ruri Plar″ right The success of the tOPical,One_act Lο ッ
a Sυ icidas α古
matsu is Tん ιSο ga SuccassOr(bお しgi Sο go,1683),PerfOrmed irst by Kaganoi5 Sο z`々 j
η′ in 17。 ノ
3,Chikamatsu's earliest sι ッα7720η O(COntemporary hfe)i5ruri,
and then a year later by Cidayこ This Pattern of cOmPosing Plays― and often obviOusly insPired by his exPerience in v/riting kabuki,was the irst fruit of his

:乱 戦:瞭 霊iTi甜 [i,1溜 :L憲 :鷺 雌

maturiサ In the last eighteen years of his carecr,he wrOtc about scvenサ ー
I眠驚
lVe
,鵠 il i5ruri, ′
enサ _fOur Ofwhich were sewamono,in a tremendous burst Ofcreat iサ
he had Passcd i時 動 ￠Lο ν

鮮 毅驀鮮
a■ er ￠Sし た〃as αιSο η￠
zα お おa crud』 Lndmaよ

輯
五撚脩 準鮮
』
lished his own Takemoto Theaterin Osaka in 1684 1n 1685,Kaganoi5 proVoC―
in bOth the histOry OfJapanese theater and Chikamatsu's own career ltssuccess
、
vas unexpected and rcstOred the TakemOtO Theatcr tO proft,and it sPurred
other changes in i5ruri drama as it strOve to compete with kabuki's live actOrs
aively moved hiS troupe llom lsoto t0 0Saka and competcd for audiences tor audicnces in theatё rs that sat side by side in the D5tOnbori cntertainment

忠謬胤F l撫 饒lil
district in sOuth Osaka ll、 vo changes lnade during this PeriOd v/cre discOntin―

I器 車11楓 柵議肌:ぶ '∫

uing the skits and interludes beb〃 cen acts and intrOducing the shOrt One― act
240 CHlKAMATSU MONZAEMON AND THE PUPPET THEATER CHIKAMATSU MONZAEMON AND THE PUPPET THEATER 241
1zumo's theatrical genius was credited fOr the unPrcCedented success ofT12ι
se、 /amono made uP ofthree scenes― ―underthe inluencc ofkabuki Practice_
′
B`ι オ￠s οFCο χ」
ηg`in 1715,Suggesting that hc cOllaborated c10sely with Chika―
after a longer ive― act history play
conce matsu in the play's production Thc unPrecCdented seventeen― Inonth run Of
Chlkamatsu's ttenサ ー
fOur cOntemporary― h偽 (sの に7720れ 0)PlayS― cd
Trla B``ι ルs ο
F Cο χ
れga in late 1715 ushered in a gOlden age of iOruri Writing
as one― act dramas equivalent to the intcnse third act of a ive― act histOry play
jあ Jη2ο πο maintain a tight unity ofPlace and time and are usually realヽ lc,′ that lasted until the end ofthat centuヮ Thc Play was immediately performed
(′ )一
in kabuki thcaters around the cOuntry.and it has remained in the repertoires
without any ofthe fantastic elcments ofthe pcriod dramas This temPoral and
Of both traditiOns lts success also made it the classical mOdel fOr later iidai―

l胤 胤 驚t∬ 点』
:よ 雷 7:R翼 lTttl聡 :∬ v:翼 r貯 1彙 mono But、 /hile kabuki Pushed Chikamatsu toward the increasingly realistic

'駆 dePiction of characterin the cOntcmpOra7 1ifc Plays,IzumO pulled him tOward

囃鴨常:聟 ぶil]よ rtlTIR認 T出 ど ,精 :、 1幡 :lで spectacular theatricaliサ in aCtS 2 and 4 0fthC hist07 plays Thus Chikamaも u's

1鳳rl胤 ∫
措 『{]織 猟電拓憲器翠
:ぶ 黛tttL翼 ユ
maturc― PeriOd Plays thrivc On the tensiOn behveen fantastic spcctacle and the_
atricaliサ in acts 2 and 4 and the intensely realistic tragedy of act 3

contemPora7 1n Sο υν
ιη,ぉ ο
fNα ″、
να(Nα η」
″α772ケ
ises and thcatrical conventionsヽ ヽ
liereas sewamono engage witl■
`ga,1738),whiCh describes his cOnve←

1lF:岬 γ
mttfTr脳 ぷ蔦 認棚鴛
よ∫
sations with his disciple H6zumi lkan about his method Of g

爾1ぶ響鷲
ing hfe tO inan―
imate PuPPeも ,Chikamabu■ equcntly used the term′ δ(ieling or PasSiOn),
which he cOnsidered thc“ basis Ofwriting"The wordチ δiS alsO ltlndamental to

鰤鮮:儡轟髄I融踊
COnfucian thOught,v/hich Places human PaSSiOns in cOnlict with the rules
and mOrals Of a ci lized sOcieサ Many have cOmmented that Chikamatsu's
truc gcnius、 vas his masterful dePictiOn Of thc PassiOns,ObsessiOns,and irra_

T淵 驚ユ
器霊f羅 棚策冒
翼1距 出 liま :ど
'ご
iぶ I
tionaliサ of the human heart PerhaPs because he wrOte lor PuPPCt theater,
Chikamaヽ u also emphasized the need for realお m(ア
characters,that is,thcir、 vOrds mustsuittheir station and “
fFS・ イ
′)in thC dcPictiOn of
rank Chikamatsu also

よ:ユ :li撤しッ
tllipubliキ
ι女ガル ザ
c::∫ Lο Sυ s`″ So777_‐ a々 ,Takenloto Gldaytl e stresscd PathOs(υ セj,α だκ),WhiCh refcrs tO the tragic climactic mOmenお
lォ in
He O■ en dramauzed a tra」 C COn且 たt beh″ een′ δand g″ ,(ra■ On』 be_
TI吼 精11:爵肝 i探 北 i棚
itti淵 壻;鼎 ∬留‖
i5ru
ha Or,PrinCiple),whiCh iS best regardcd as a tensiOn bctween desire and rea
sOn,beb″ ecn our natural,``anilnal― like''instincts and our rational,``civilized''
Izumo I(d1747)asthe new manager,leaving Cidayi to concentrate solelと on
r‖ mind with its rules,mOrals,and resPOnsibilities inculcatcd by socieサ
憾11:よ:d蹂 謂
∬
Chika―

雛TT鷹 餡∬iT稀 鑑 講 il驚

atsu to
matsu's works are dお tinguished by a PcrsiStent
the ime butrenected h the
ew(pCrhaPs unOrthodox fOr
ews ofthc● OtO ph10SOPherlt5 JinSai)。 fhuman
kabuki in D5tonbori lzumO took thC decisive steP of inviting(3hikan■
retired desircs as natural and cssentially good WithOut the tcmPering of ethics,hOv/
be the Takemoto Theater's staffPlaywright tter thc actor Sakata T51irё
ttotO early in 17。 6 to live thc evcr,excessive Passion inevitably leads tO tragedy

魅
in 1702 bCCausc of ill health,Chikamatsu lc■

『∴謬i竃 糊:悠電糧樹訛憲
ruri must be understOod in a musical cOntext One ofTakemOtO Cidayi's

i胤 憮よ
Jδ

ilttLa1/11 al■ d mCtaPhOrs for i5ru Was the strcam with iお “

ア
raPidS and quiet Pools";thatお

ヽ
ヽ
,

Chikamatsu ith thc Production and tremendous success ofthe period Play thc actiOn is Propelled by dillercntサ pes Oflanguage and Presentation Cidayi
saw the raPidS as the dramatic mOnlents in which the dialoguc and actiOn are

7笛 imtttz壌 糧
『 「軋
て籠 ∬嘱l餌 1ま 鴛∬7樅 quick and lively By contrast,the quiet,dccP po01S are the sOngs,whcn the
action stOPS and dePth is achieved thrOugh lyrical and melodic Pov/cr The
Takemoto,came increasingly claborate stage proPs and lnore cxtravagant stage
basic Principle is having the chantcr mOve beb″ een and among a relatively
tricks、vith PuPpets lt is fronl around this tirne that the pupPcteer TatsumatSu
realisic declamatOry“ sPoken"sサ lC With no musical accOmPaniment and vari
Hachir5bei won ttmc for his dcPictiOn offemale characters Chikamatsu's work
ous levels Of``sOng''sサ le acCOmpanied by the thrcc_string shamisen,in both
、
vith kabuki actors had inv01ved him dccPly in stagc Practice and the realistic
the dialogue and narrativc sectiOns This rhctOrical techniquc of cOnstantly

rl凛 :常 構1き 翼:1尉鳶1誌 :滞 専器IW掘 記割 shifting beb″ een lyrical and dramatic voices fOr emPhasis and effect is the cs_
sence Ofiё ruri chanting
of hiS Woよ
PrOPS,thCreby heightening the theatricaliサ