Tales from Old Japanese Dramas
By
Asataro Miyamori
Professor of English in Keio University, Tokyo, Japan
Author of "Representative Tales of Japan"
Revised by
Stanley Hughes
Professor of English in Keio University, Tokyo, Japan
With 44 Illustrations
G. P. Putnam's Sons
New York and London
The Knickerbocker Press
1915
Copyright, 1915
by
ASATARO MIYAMORI
The Knickerbocker Press, New York
FOREWORD
EOPLE in England and America probably do not realize what a large part is played by the Theatre in the life of the Japanese people. This volume will help to give them some idea of it; and, as a nation, like an individual, reveals perhaps more of its true self in its amusements than in the serious business of life, a perusal of these pages, giving as they do an idea of the stories which appeal most strongly to the taste of the Japanese public, may help towards a wider understanding of the Japanese national character. The hold which the classical drama still exercises on the theatre-goers of Japan may come as a surprise to many, but should provide a strong link of sympathy to the country from which Shakepeare's genius sprung. In recommending this short history of the Japanese stage from the earliest times down to the present day, to all who are interested in the evolution of the drama throughout the world, I feel confident that I am rendering them a genuine service, and if others, who are anxious on more general lines to endeavour to learn more of the spirit and genius of the people of this Empire, will devote a short time to the study of this subject, I am sure they will be more than repaid for their pains.
British Embassy, Tokyo,
- March 20, 1915.
PREFACE
HERE are three great periods in the history of Japanese literature: the Nara Period (710–784), the Heian Period (800–1186), and the Yedo Period (1603–1867); and as the Mannyō Shū, an anthology, and the Genji Monogatari, a romance, are respectively the representative masterpieces of the first two periods, so the jōruri or epical dramas are the representative productions of the Yedo Period.
The following tales are condensed and adapted from famous epical dramas by Chikamatsu Monzayemon, the "Shakespeare of Japan," Ki-no-Kaion, Chikamatsu Hanji, and five other great writers. With the exception of The Love of Komachi the Poetess, these dramas are very long, and exceedingly intricate in plot, so that in most cases, one or two acts only of each piece, which are of permanent interest, are chanted or performed. The present author has done his best to select the essential points of these dramas, while omitting tedious details which have no important connection with the main plot. He has also endeavoured to give a brief account of such passages as are essential to the main plot, but are of little interest, and to reproduce, in their original form, as far as possible, those acts which are usually chanted or performed.
The author's best thanks are due to Mr. Masukichi Suishu, who gave him valuable assistance in the choice and condensation of the originals; to Professor A. W. Playfair, who revised the manuscript of one of these stories, and to Mr. Sakayé Okano for the preparation of the cover design.
Tokyo,
- March, 1915.
CONTENTS
PAGE
| 1 |
| 31 |
- From The Ono-no-Komachi Miyako no Toshidama
- By Ki-no-Kaion
| 65 |
- From The Yehon Taikō-Ki
- By Chikamatsu Yanagi
| 117 |
- From The Shimpan Uta Zaimon
- By Chikamatsu Hanji
| 153 |
- From The Ichi-no-tani Futaba Gunki
- By Namiki Sōsuké
| 205 |
- From The Shō-utsushi Asagao Banashi
- By Yamada Kagashi
| 273 |
- From The Hakoné Reigen Izari Kataki-uchi
- By Chikamatsu Tokuzō
| 323 |
- From The Shinrei Yaguchi no Watashi
- By Hiraga Gennai
| 359 |
- From The Kohusenya Kassen
- By Chikamatsu Monzayemon
ILLUSTRATIONS
PAGE
Mr. Kichiyemon as Mitsuhidé |
Frontispiece |
MARIONETTE PERFORMANCES
A Scene from The Chūshingura |
4 |
A Scene from The Yoshitsuné Sembonsakura |
4 |
A Marionette Performance Given at the Horiyeza, Ōsaka |
6 |
Mr. Utayemon |
24 |
Mr. Utayemon as Lady Yayegaki |
24 |
Mrs. Roshō, the Most Famous Drama Chantress |
26 |
Miss Fumiryū, a Drama Chantress |
26 |
Mr. Settsu Daijō, the Most Famous Drama Chanter (on the Left) |
28 |
A MARIONETTE PERFORMANCE
A Scene from O-Somé and Hisamatsu |
30 |
MARIONETTE PERFORMANCES
A Scene from The Sendai-Hagi |
30 |
A Scene from The Sekitori Senryō Nobori |
30 |
MARIONETTE PERFORMANCES
A Scene from The Taikō-Ki |
30 |
A Scene from The Gotaiheiki Shiraishibanashi |
30 |
MARIONETTE PERFORMANCES
A Scene from Yūgiri and Izayemon |
30 |
A Scene from The Kokusenya |
30 |
Mr. Sōnosuké |
34 |
Mr. Sōnosuké as Lady Komachi |
34 |
"It Is I, Sir," Answered the Girl, Disguising Her Voice |
42 |
"Bring Me that Armour-Chest. Quick!" |
100 |
Mr. Nizayemon |
102 |
Mr. Nizayemon as Mitsuhidé |
102 |
Mr. Baikō |
136 |
Mr. Baikō as O-Mitsu |
136 |
O-Somé and Hisamatsu Produced at the Imperial Theatre |
138 |
Hisamatsu Took a Palanquin and the Girls Boarded a Boat |
146 |
Tadanori, Carrying the Branch of Cherry-Blossoms on His Back, Set out on His Journey |
170 |
"You Are a General of the Taira Army, Are You not?" He Asked, Holding up an Open Fan |
186 |
Mr. Kōshirō as Kumagai |
198 |
Mr. Yaozō |
202 |
Mr. Yaozō as Kumagai |
202 |
The Young Warrior Fell to Writing on a Tanzaku |
208 |
A Mob of Urchins Pelted Her with Stones |
238 |
Mr. Gadō as Asagao |
252 |
Mr. Gadō as Kōzuké |
280 |
Conveyed in the Waggon by Hatsuhana, He Went to the Temple Grounds |
308 |
But a Warrior Seized the Tail of His Horse |
334 |
She Smiled Archly and |
346 |
Mr. Utayemon as O-Funé (on the Left), Mr. Danshirō as Tombei (on the Right) |
350 |
The Nitta Shrine |
356 |
A "Battle of Flowers" Was to be Fought |
364 |
She then Held up a Mirror |
388 |
Mr. Kōshirō |
398 |
Mr. Kōshirō as Kokusenya |
398 |