The Tale of the Great Go and Peace by Shiraishi

Joruri Gidayubushi. Jidai sewamono. 11 acts. A collaboration between Kinojo Taro, Utei Enba, and Yoyodai. First performed in January 1780 (An'ei 9) at the Gekiza Theater in Edo. This dramatizes the events of Yui Shosetsu's "Keian Taiheiki" by incorporating a true story of two peasant sisters from Shiroishi, Oshu who avenged their father in 1723 (Kyoho 8). Commonly known as "Shiroishi Banashi" or "Miyagino Shinobu." The main story is about Uji Joetsu (Yui Masayuki) plotting to subjugate the Ashikaga (Tokugawa) clan with Marigase Shuya (Marubashi Chuya) and Kanae (Kanae) Tanigorou, but the most famous part is the seventh act, "Ageya," which is often performed in both Bunraku and Kabuki. In an attempt to avenge her father Yomosaku, who was killed by the magistrate Shiga Daishichi, the daughter Onobu visits her older sister Okino, who has become a courtesan Miyagino in Yoshiwara, Edo, to tell her about her father's death and the two of them try to escape from the brothel, but Daikokuya Soroku, the owner of the brothel, warns the sisters against their hotheadedness, likening it to "The Tale of the Soga Family," and gives them Miyagino's indenture and Daimon stamps before letting them depart. The play is notable for its vivid portrayal of the Yoshiwara customs of the time, and the contrast between the Edo courtesan of her heyday and the country girl with her strong Oshu accent has made it popular. The story is connected to the plot of "Keian Taiheiki" in that the sisters learn swordsmanship from Tsuneyoshi and then avenge their enemy with the help of Miyagino's fiance, Tanigorou.

[Toshiaki Matsui]

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)。時代世話物。11段。紀上太郎(きのじょうたろう)・烏亭焉馬(うていえんば)・容楊黛(ようようたい)合作。1780年（安永9）1月江戸・外記座(げきざ)初演。由比正雪(ゆいしょうせつ)の「慶安(けいあん)太平記」の事件に、1723年（享保8）奥州白石の百姓娘の姉妹が父の仇討(あだうち)をした実話を絡ませて脚色。通称「白石噺」「宮城野信夫(みやぎのしのぶ)」。宇治常悦(うじじょうえつ)（由比正雪のこと）が鞠ヶ瀬秋夜(まりがせしゅうや)（丸橋忠弥(まるばしちゅうや)）や金江（金井）谷五郎らと足利(あしかが)（徳川）討伐を計る話が本筋であるが、有名なのは七段目「揚屋(あげや)」で、文楽(ぶんらく)でも歌舞伎(かぶき)でも多く上演される。代官志賀台七(しがだいしち)に殺された父与茂作(よもさく)の仇を討とうと、娘信夫（おのぶ）は江戸・吉原で傾城(けいせい)宮城野となった姉おきのを訪ね、父の死のようすを告げ、2人で廓(くるわ)を抜け出そうとするが、揚屋の主人大黒屋惣六(だいこくやそうろく)は『曽我(そが)物語』になぞらえて姉妹の血気を戒め、宮城野の年季証文と大門の切手を与えて出立させる。当時の吉原風俗を活写しているのが特色で、全盛の江戸傾城と奥州なまり丸出しの田舎(いなか)娘との対照が人気をよぶ。なお、「慶安太平記」の筋とは、姉妹が常悦のもとで剣術を習い、宮城野の許婚(いいなずけ)谷五郎の助太刀で仇を討つ話で結び付く。

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