Kanadehon Chushingura - Kanadehon Chushingura

Joruri Gidayubushi. Historical piece. 11 acts. Co-written by Takeda Izumo, Miyoshi Shoraku, and Namiki Senryu. First performed at the Takemotoza Theater in Osaka in August 1748 (Kan'en 1). A masterpiece of drama from ancient times to the present, based on the revenge of the Ako Ronin, commonly known as "Chushingura." Based on many previous works such as Chikamatsu Monzaemon's "Goban Taiheiki," the play borrows the world of "Taiheiki" and dramatizes the characters with names such as Takano Moronao for Kira Kozukenosuke, Enya Hangan for Asano Takumi no Kami, and Oishi Kuranosuke for Ooboshi Yuranosuke. The title refers to the 47 Ronin, which matches the number of Iroha kana characters, and the storehouse where loyal retainers who were role models for samurai were gathered, as well as a play on Oishi Kuranosuke's storehouse.

The main story begins with the day when Kaoyo Gozen, the wife of Enya Hangan, appraisees Nitta Yoshisada's helmet in the presence of Ashikaga Tadayoshi, she is tormented by the unrequited love of her steward, Takanori Moronao (Prologue - Tsurugaoka Shrine Head). It then develops to Moronao, resentful that his love is not reciprocated, insulting the hangman in the palace, leading to a bloody battle (Act 3 - Pine Room), and finally to the castle lord's chief retainer, Ooshi Yuranosuke, who rushes to the scene of the hangman's seppuku at Enya's mansion in Ogigayatsu, and resolves to take revenge (Act 4 - The hangman's seppuku and the castle surrender). During this time, the judge's colleague Momoi Wakasanosuke's chief retainer Kakogawa Honzo sends money and gifts to Moronao to ensure his master's safety (Act 2 - Momoi Mansion, Act 3 - Gifts), and the judge's retainer Hayano Kanpei is late for an important event for his master because he is in love with Okaru, a maidservant (Act 3 - Back Gate).Then, Okaru sells herself to raise funds for Kanpei's comeback after becoming a ronin, and Yoichibei, who has the money, is killed by the bandit Ono Sadakuro, and Kanpei, who shot Sadakuro with his gun, commits seppuku (harakiri) and dies, believing he has killed his father-in-law (Act 5 - Yamazaki Highway, Act 6 - Kanpei commits harakiri). The play further covers Yuranosuke's entertainment in Gion, where he distracts the enemy; the reunion of Okaru, who has become a prostitute, and her brother Teraoka Heiemon (Act 7 - Ichiriki Teahouse); the struggles of Honzo's wife Tonase as she tries to marry off their daughter Konami to Ooboshi's son Rikiya; Honzo's sacrifice of his life to make his daughter's love come true as an apology for holding the judge captive when he was about to be stabbed (Act 8 - "A Bride on the Road"; Act 9 - Yamashina Illumination); and the chivalry of the merchant Amanogawa Yoshihira, who is asked to procure weapons for the attack (Act 10 - Amanogawaya), before arriving at the true purpose of the attack (Act 11).

Although it is a free adaptation unconstrained by historical fact, both the play's writing and character portrayal are excellent, and in particular the fourth act, in which the audience, like the judge in the play, is impatient for the main character's appearance, and the sixth act, in which the protagonist Kanpei is unaware of the truth that the audience knows, are two of the best in terms of dramatic climax. Since it was adapted into Kabuki in November of the same year as its Joruri premiere, the directing techniques of successive generations of great actors have been incorporated into the production, and it has become such a popular kyogen play that it has come to be called "dokujinto" (a miracle cure) and can revive business even when attendance is low. Of the many Gidayu Kyogen plays, this one is most often performed in its entirety, but the third act, "Ura-mon," is usually substituted by "Hanamuko of the Travels" (1833, commonly known as "Ochiudo"), which was adapted as a Kiyomoto dance by Misuya Nisoji. Also, the second and tenth acts are rarely performed, while the eleventh act, "Attack," is often performed according to a script and direction based on a true-life story that was created after the Meiji period.

[Toshiaki Matsui]

"Otoha Hiroshi's annotated "Japanese Classical Literature Series 51 Joruri Collection Vol. 1" (1960, Iwanami Shoten)" ▽ "Toita Koji's "Chushingura" (1957, Sogensha)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

浄瑠璃義太夫節(じょうるりぎだゆうぶし)。時代物。11段。竹田出雲(いずも)、三好松洛(みよししょうらく)、並木千柳(せんりゅう)合作。1748年（寛延1）8月、大坂・竹本座初演。赤穂(あこう)浪士の仇討(あだうち)に取材した古今の戯曲中の代表作で、通称「忠臣蔵」。近松門左衛門の『碁盤太平記(ごばんたいへいき)』をはじめとする多くの先行作に基づき「太平記」の世界を借り、吉良上野介(きらこうずけのすけ)は高師直(こうのもろなお)、浅野内匠頭(たくみのかみ)は塩冶判官(えんやはんがん)、大石内蔵助(くらのすけ)は大星由良之助(おおぼしゆらのすけ)などの役名で脚色している。名題は、いろは仮名の数に合致する四十七士の意味、武士の手本となる忠臣を集めた蔵の意味のほか、大石内蔵助の蔵を利かせたもの。

　本筋は、塩冶判官の妻顔世(かおよ)御前が足利直義(あしかがただよし)の面前で新田義貞(にったよしさだ)の兜(かぶと)を鑑定した日、執事高師直の横恋慕に悩まされる（大序―鶴が岡(つるがおか)社頭）のを発端とし、師直が恋のかなわぬ恨みから殿中で判官を侮辱、刃傷(にんじょう)になり（三段目―松の間）、扇が谷(おうぎがやつ)塩冶館(やかた)の判官切腹の場へ駆けつけた城代家老大星由良之助が仇討の決意を固めること（四段目―判官切腹・城明け渡し）へと発展。この間に、判官の同僚桃井若狭之助(もものいわかさのすけ)の家老加古川本蔵が主人の無事のために師直へ金品を贈ること（二段目―桃井館、三段目―進物）、判官の家来早野勘平(かんぺい)が腰元お軽との恋愛のため主君の大事に遅れること（三段目―裏門）などを挟む。ついで、浪人した勘平の再起を計る資金調達のためお軽が身売りすること、その金を持った親与一兵衛(よいちべえ)が山賊斧定九郎(おのさだくろう)に殺されること、定九郎を鉄砲で撃った勘平が舅(しゅうと)を殺したと思い込んで切腹して死ぬこと（五段目―山崎街道、六段目―勘平腹切）など、波瀾(はらん)に富んだ筋が展開する。さらに、祇園(ぎおん)で敵の目をくらます由良之助の遊興、遊女になったお軽と兄寺岡平右衛門(へいえもん)の再会（七段目―一力(いちりき)茶屋）、本蔵の妻戸無瀬(となせ)が娘小浪(こなみ)を大星の息力弥(りきや)に嫁がせるための苦労、本蔵が刃傷のときに判官を抱きとめた申し訳に一命を捨てて娘の恋をかなえさせる話（八段目―「道行旅路の嫁入」、九段目―山科(やましな)閑居）、討入りの武器調達を頼まれた商人天河屋義平の侠気(きょうき)（十段目―天河屋）などを経て、討入り本懐（十一段目）に至る。

　史実にとらわれない自由な脚色だが、作劇、人物描写ともに優れ、とくに観客が劇中の判官と同じように主役の登場を待ちかねる四段目と、観客が知っている真相を主人公の勘平が知らずに破滅する六段目は、劇的な盛り上がりの点で双璧(そうへき)といえる。浄瑠璃初演の同年11月に早くも歌舞伎(かぶき)に移されてから、演出面に代々の名優のくふうが積み重ねられ、「独参湯(どくじんとう)」（特効薬）とよばれるほど、不入りのときでも景気を挽回(ばんかい)する人気狂言になった。数多い義太夫狂言のなかでは通しで上演されることがもっとも多いが、三段目の「裏門」はたいていの場合、三升屋二三治(みますやにそうじ)が清元(きよもと)舞踊として改作した『道行旅路の花聟(はなむこ)』（1833。通称「落人(おちうど)」）で代行する。また、二段目と十段目の上演は少なく、十一段目の「討入り」は明治以後にできた実録風の脚本・演出によって演じられることが多い。

［松井俊諭］

『乙葉弘校注『日本古典文学大系51　浄瑠璃集　上』（1960・岩波書店）』▽『戸板康二著『忠臣蔵』（1957・創元社）』

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