"Amamiya Yui Hamaide" - Amamidai Yui no Hamaide

...This work describes Masayuki's upbringing, his training as a warrior, his learning sorcery from Mori Soiken, his going to Edo to seize the house of Kusunoki Fuden, and how he gathered 4,800 ronin including Marubashi Tadaya and staged a rebellion.It also mixes in the revenge of Miyagino and Shinobu, and has become a popular reading material and has also been lectured on. Publishing or dramatizing contemporary events was against the law, so it was difficult to adapt them for the stage, but in February 1729 (the 14th year of the Kyoho era), the Takemotoza performed a joruri play called Amami Daiyui no Hamaide, written by Takeda Izumo and others, in which Masayuki appeared under the name Kii Chubushi. He then appeared in a kabuki play called Keisei Kongenki, written by the Anegasaki Theater in Osaka, in January 1757 (the 7th year of the Horeki era). In addition, in September 1759, the Takemotoza performed a joruri play called Taiheiki Kikusui no Maki (Chapter of the 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, plots to overthrow the Ashikaga clan, but ultimately commits suicide, on the condition that the Northern and Southern Courts be united. Other works that relate to the Keian period include "Ah, Loyal Retainer, Nanshi no Hata" (December 1771, Toyotake-za), which is 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 kana. The first time they were legally allowed 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 name "Keian Taiheiki."

*Some of the terminology explanations that refer to "Ama-godai Yui Hamade" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…この作では，正雪の生い立ちから武者修行，森宗意軒に妖術を習い，江戸に出て楠不伝の家を奪い，丸橋忠弥ら4800人の浪人を集めて謀反を起こす様が描かれ，これに宮城野，信夫（しのぶ）の仇討をとりまぜ，大衆性に富む読物として流布し，講釈でも行われてきた。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。…

※「《尼御台由井浜出》」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。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報