"Five Wild Geese Made by a Man"

Japanese: 《男作五雁金》 - おとこだていつつかりがね

...The first dramatization of the Ninkyoto was said to be Danshichi, performed by the first Nizaemon at the Kataoka Nizaemonza in Osaka in 1698 (Genroku 11), and since then, rewritten versions of the Yadobu Danshichi have been performed one after another. The first of the Karigane Five Men was the puppet play Karigane Bunshichi Autumn Frost, performed at the Okamoto Bunyaza in Osaka in September 1702, and it gave birth to many plays, including Otoko Dateitsutsukarigane (Five Kariganes Written by a Man) (July 1742, Takemotoza, Osaka, written by Takeda Izumo). In Kamigata, many kabuki and puppet theater plays were created, such as Kurofune Chuemon and Ume no Yoshibei, while in Edo, the dramatization of Banzuiin Chobei began with the puppet theater play Meguro Hiyokuzuka (written by Genpei Fujitachibana and others) performed at the Hizenza theater in July 1779 (An'ei 8), and Sukeroku plays based on the Juhachiban style became popular after Hanayakata Aigo no Sakura (Flower House Aigo Sakura) performed at the Yamamuraza theater in April 1713 (Shotoku 3), and were highly praised as chivalrous men representative of the Edokko spirit.

From "Five Men"

...These include the Five Men of Karigane, the Five Men of Clouds and Mist, and the Five Men of Shiranami. The five real-life ruffians (who were executed in August 1702), led by Karigane Bunshichi, were played as puppet plays at the Okamoto Bunya Theater in the month following their execution in "Kankin Bunshichi: Autumn Frost." Since then, the stories have been passed down as "Kankin Bunshichi: One Year's Memorial" (Yamamoto Hidajo, 1703) and "Kankin Bunshichi: Three Years' Memorial" (Uji Kagajo, 1704). However, the story of the Five Men of Karigane (written by Takeda Izumo, July 1742 at the Osaka Takemoto Theater) emphasized their character as men of chivalry, and had a great influence on later generations. It was also performed as a kabuki play in 1702 (Genroku 15) at the Matsumoto Nazaemonza in Osaka, and in 1717 (Kyoho 2) at the Nakamuraza in Edo as Kaido Itto Kami Soga, and in 1726 at the Kaneko Kichizaemonza in Osaka (the middle play) as Otokosaku Goningumi, and in Meigetsu Gonin Otoko (1730 at the Nakamuraza) the part where all five men gather together to recite the tune became popular.

*Some of the terminology used in "Man Made Five Wild Geese" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…任俠の徒を劇化した嚆矢（こうし）は1698年(元禄11)に大坂片岡仁左衛門座で初世仁左衛門が演じた団七であるとされ，以降，宿無団七の書替狂言がつぎつぎに演じられた。雁金五人男は1702年9月大坂岡本文弥座上演の人形浄瑠璃《雁金文七秋の霜》が最初で，《男作五雁金（おとこだていつつかりがね）》(1742年7月大坂竹本座，竹田出雲作)など多くの作を生んだ。また上方では黒船忠右衛門，梅の由兵衛など，歌舞伎･人形浄瑠璃に数々の俠客物が生まれたが，一方江戸でも，79年(安永8)7月肥前座所演の人形浄瑠璃《驪山（めぐろ）比翼塚》(源平藤橘ら作)以降の幡随院長兵衛の劇化，また1713年(正徳3)4月山村座《花館愛護桜（はなやかたあいごのさくら）》以降の十八番系の助六劇が盛行し，江戸っ子精神を代表する任俠としてもてはやされた。…

【五人男物】より

…雁金（かりがね）五人男，雲霧（くもきり）五人男，白浪五人男などをいう。雁金文七を頭とした庵（あんの）平兵衛，布袋市右衛門，極印千右衛門，神鳴庄九郎という実在した5人の無頼漢(1702年8月刑死)を，獄門の翌月に岡本文弥座で人形浄瑠璃化した《雁金文七秋の霜》以来《雁金文七一年忌》(山本飛驒掾，1703)，《雁金文七三年忌》(宇治加賀掾，1704)と語りつがれたが，《男作五雁金（おとこだていつつかりがね）》(竹田出雲作，1742年7月大坂竹本座)によって，仁俠の徒としての性格が強調され，後世に大きな影響をもたらした。歌舞伎でも1702年(元禄15)に大坂松本名左衛門座で上演，以後17年(享保2)江戸の中村座で《街道一棟上曾我》として演じられ，26年大坂の金子吉左衛門座(中の芝居)で《男作五人組》が，また《名月五人男》(1730年中村座)では五人男が勢ぞろいしてつらねを述べる個所が評判となった。…

※「《男作五雁金》」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

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