"Iroha Nichirenki" - Iroha Nichirenki

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[The Takemotoza Era]
He returned to the Joruri world in 1745 (Enkyo 2), changed his name to Namiki Senryu, and became a composer for the Takemoto-za, which was opposed to the Toyotake-za. By 1750 (Kan'en 3), he had written ten works (as well as one for the Edo Hizen-za) in collaboration with the second Takeda Izumo and Miyoshi Matsuraku. The Enkyo and Kan'en eras (1744-51) were a time when it was said that "puppetry gradually became more and more popular and Kabuki was almost nonexistent" (Jorurifu), and the main figure in the drama scene that brought about the heyday of puppet theater was Namiki Munesuke, with a succession of masterpieces in the history of Japanese drama, including Sugawara Denju Tenarai Kagami (1746), Yoshitsune Senbonzakura (1747), Kanadehon Chushingura (1748), Gunpo Fujimi Saigyo (1745), Natsumatsuri Naniwa Kagami (1745), Nankoku Mukashi Banashi (1746), Iroha Nichirenki (1747, Edo Hizen-za, current piece Nichiren Shonin Gohokai), Sochocho Kuruwa Nikki (1749), and Genpei Nunobiki Falls (1749). These works feature grand and varied concepts, well-balanced structures, and gorgeous stage expressions that are in keeping with the Takemotoza tradition dating back to Gidayu and Chikamatsu, and with an excellent acting cast that includes puppeteer Yoshida Bunzaburo and tayu Takemoto Kotayu. In terms of theme, the darkness of the Toyotakeza era has been alleviated, and the plays are based on a kind of view of impermanence and plainly depict the activities of human beings who are merely insignificant in the face of an enormous fate.

*Some of the terminology explanations that refer to "Iroha Nichiren-ki" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

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［竹本座時代］
　1745年(延享2)に浄瑠璃界に復帰，並木千柳と改め，豊竹座に対立する竹本座の作者となり，50年(寛延3)までに2世竹田出雲，三好松洛らとの合作で，10作(ほかに江戸肥前座のために1作)を著した。延享･寛延期(1744‐51)は〈操り段々流行して歌舞伎はなきが如し〉(《浄瑠璃譜》)といわれた時代であるが，この人形浄瑠璃全盛期を現出せしめた戯曲面の主力が並木宗輔で，《菅原伝授手習鑑》(1746)，《義経千本桜》(1747)，《仮名手本忠臣蔵》(1748)および《軍法富士見西行》(1745)，《夏祭浪花鑑》(1745)，《楠昔噺》(1746)，《いろは日蓮記》(1747，江戸肥前座，現行曲《日蓮聖人御法海》)，《双蝶々曲輪日記》(1749)，《源平布引滝》(1749)と，日本戯曲史上の傑作が次々と生み出された。これらの作品は，義太夫，近松以来の竹本座の伝統と，人形遣い吉田文三郎，太夫竹本此太夫ら優秀な演技陣とに相応した，雄大で変化に富む構想，均斉のとれた構成，華やかな舞台表現等を備え，主題の面では，豊竹座時代の暗さが緩和され，一種の無常観に立って，巨大な運命の前に弱小な存在にすぎぬ人間の営みを淡々と描くに至っている。…

※「《いろは日蓮記》」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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