"Oh, Loyal Retainer, Mr. Nanshi Hata"

...Since publishing or dramatizing contemporary events violated the law, it was difficult to adapt them for the stage, but in February 1729 (Kyoho 14), the Takemotoza performed a joruri play titled "Amamiya Yui no Hamaide" written by Takeda Izumo and others, in which Masayuki appeared under the name Kii Chubushi. He then appeared in a kabuki play titled "Keisei Yuraiki" at the Anegasaki Theater in Osaka in January 1757 (Horeki 7). In addition, in September 1759, the Takemotoza performed a joruri play titled "Taiheiki Kikusui no Maki" (written by Chikamatsu Hanji and others), in which the protagonist takes over the world during the Northern and Southern Courts, and under the name Uji Tsuneyoshi, he plots to overthrow the Ashikaga clan, but ultimately commits suicide, on the condition that the Northern and Southern Courts be united. Other works based on the Keian period include "Ah, Loyal Retainer, Nanshi no Hata" (December 1771, Toyotake-za), an adaptation of the play, and "Gotaiheiki Shiroishi Banashi" (January 1780, Edo Gaiki-za), which focuses on the revenge of Miyagino and Nobuo, but all of them appear under a pseudonym. The first time it was legally permitted to be performed was in March 1870 (Meiji 3) at the Morita-za with "Kusunokiryu Hanami no Makubari" (written by Kawatake Mokuami), and it has since been frequently performed under the commonly known name "Keian Taiheiki." However, at the time of its premiere, the real name was avoided and the play was used instead, with emphasis placed on Marubashi Chuya rather than Masayuki, and Marubashi's character was well portrayed.

*Some of the terminology used in "Alas, Loyal Retainer, Kusunoki Shihata" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…当代の事件を出版または劇化することが法規に触れるため，舞台化は困難を伴ったが，1729年(享保14)2月竹本座で竹田出雲ら作の《尼御台由井浜出（あまみだいゆいのはまいで）》の浄瑠璃が上演され，正雪は奇井中節の名で登場，ついで歌舞伎では57年(宝暦7)1月大坂姉川座《けいせい由来記（こんげんき）》に志井常悦として登場，また59年9月竹本座の浄瑠璃《太平記菊水之巻》(近松半二ら作)は南北朝に世界をとり，宇治常悦の名で，足利転覆を企てたが最後は南北朝和合を条件として自害する結末となっている。ほかにその改作物《嗚呼忠臣楠氏籏（ああちゆうしんなんしのはた）》(1771年12月，豊竹座)，宮城野，信夫の仇討を主筋とした《碁太平記白石噺（ごたいへいきしろいしばなし）》(1780年1月，江戸外記座)などの慶安事件物があるが，いずれも仮名で登場，1870年(明治3)3月守田座での《樟紀流花見幕張（くすのきりゆうはなみのまくばり）》(河竹黙阿弥作)によって，初めて法的に解禁され，通称《慶安太平記》の名で，以来しばしば上演される。しかしこの作でも初演時には実名をはばかり宇治常悦とし，正雪よりも丸橋忠弥に重点が置かれて性格も丸橋がよく描かれている。…

※「《嗚呼忠臣楠氏籏》」について言及している用語解説の一部を掲載しています。

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