Joruri - Joruri

Japanese: 浄瑠璃 - じょうるり

A type of Japanese music. A type of storytelling that originated from Heikyoku, Noh plays, and sermons. In modern times, it is a general term for music that uses shamisen as accompaniment and tells a story through lines and melodies. It is also another name for Gidayubushi.

[Yoshihiro Kurata]

Early forms

Its origins are unclear, but in 1531 (Kyoroku 4), the renga poet Socho had a troupe of performers "sing joruri" in Shizuoka (Socho Diary). Also, Arakida Moritake, a Shinto priest in Ise, wrote a poem on the subject of joruri in his "Moritake's Thousand Verses" in 1540 (Tenbun 9). Based on these sources, Shigeno Yasutsugu, a first-class editor at the Shushikan (Institute of History) in 1880 (Meiji 13), determined that joruri was established between the reigns of Ashikaga Yoshimasa and Yoshiharu (1453-1546). The earliest story is the Joruri Monogatari, about the daughter of a wealthy man from Yahagi, Mikawa Province (Aichi Prefecture), and Ushiwakamaru, from which the name "Joruri" is said to have originated. This story is divided into 12 acts, so it is also called "Joruri Jyudan" or "Jyudan Soshi." Stories about divine and Buddhist miracles, such as "Amida no Munewari" and "Goou no Hime," were also performed. When performing, the performer holds an open fan in the left hand and keeps time by tapping the bones and the paper with the toe of the right hand, according to Takemoto Gidayu in his "Oumugasoma" (1711). At some point, this Joruri was combined with puppets and the shamisen to become a puppet theater. At the end of the 1500s, Toyotomi Hideyoshi moved puppet theaters in Kyoto to Shijo-gawara, so we know that it had already become a commercial event. However, there are many unknowns about its early development, and the form of Joruri was still immature, so Joruri before Gidayubushi is collectively called "Ko-joruri."

[Yoshihiro Kurata]

Old Joruri

In the early 1600s (Keicho and Genna periods), when Tokugawa Ieyasu began developing the city of Edo, Satsuma Joun and Sugiyama Tango no Jo were the founders of Edo Joruri. Eikan-bushi and Hizen-bushi were also born, but with the emergence of Izumi Dayu (later Sakurai Tanba no Shojo), Kinpira Joruri became extremely popular. It is a story about Kinpira, the son of Sakata Kintoki, who demonstrates his bravery. Other popular stories included "Shitenno Musha Shugyo" (The Four Heavenly Kings' Execution of a Warrior) and "Watanabe Gansekiwari" (Watanabe Rock Splitting). This was around the time of the Furisode Fire in 1657 (Meireki 3). It was Tosa Shojo who softened Izumi Tayu's narrative style, and his memory remains in Gidayu-bushi under the name Tosa-bushi. It seems that Menukiya Chozaburo, Jirobei, and Rokuji Namuemon were prominent in Kyoto in the past, but the details are unknown. In the latter half of the 1600s, Yamamoto Kakutayu, Matsumoto Jidayu, and Uji Kaga no Jo appeared, and finally the musical nature of Joruri became clear. Inoue Harima no Jō, Ito Dewa no Jō, Okamoto Bunya and others were active in Osaka during this period, and the performances of Inoue Harima no Jō in particular had a great influence on Takemoto Gidayū. In the field of sekkyōbushi (sekkyō-bushi), Osaka Yoshiro, Sado Shichidayū and Edo Tenma Hachidayū recited pieces such as "Karukaya," "Sanshō Dayū," and "Yuriwaka Daijin."

[Yoshihiro Kurata]

After Takemoto Gidayu

In 1684 (Jokyo 1), Takemoto Gidayu built the Takemotoza Theatre in Dotonbori, Osaka. This is considered the first year of the Gidayu-bushi era. Gidayu compiled old Joruri, refined the melodies, and established the form of narrative expression. His successors also worked to develop Joruri's expressive techniques and shamisen playing. Meanwhile, many composers, including Chikamatsu Monzaemon, Takeda Izumo, Chikamatsu Hanji, and others, were involved in the works that formed the backbone of Joruri, enhancing the literary quality of Joruri while also pursuing entertainment value. These works can be broadly divided into jidaimono and sewamono. To give just a few examples, jidaimono (historical dramas), also known as jidai joruri, include works such as "Sugawara Denju Tenarai Kagami," "Kanadehon Chushingura," "Ichinotani Futaba Gunki," and "Imoseyama Onna Teikin," which are based on aristocratic and samurai society. Sewamono (domestic dramas), also known as sewa joruri, include works such as "Shinju Ten no Amijima," "Shinban Utazaimon," and "Hadegasata Onna Maiginu," which depict events in commoner society. These works spread throughout the Japanese archipelago with the power of the economic city of Osaka as a backdrop, and Gidayu-bushi established its position as the mainstream of joruri. Kabuki also made an effort to stage Joruri works and even adopted the performance format, so Gidayu-bushi became an indispensable part of early modern Japanese theater. When observing and analyzing post-Gidayu Joruri books (Maruhon) and existing performances, the changes in the musicality held by early modern Japanese people become clear. However, Gidayu-bushi excels at narrative expression, and is characterized by its historical dramas. Perhaps for this reason, Bungo-bushi became popular among sewamono.

Bungo-bushi, also known as Miyakoji-bushi, is a style that uses elegant melodies and focuses on lyricism. It was founded by Miyakoji Bungo-no-jo in the 1720s and 1730s (Kyoho era), but seems to have fallen into disuse in the 1830s (Tenpo era). Judging from the large number of surviving songbooks and the tunes that have been converted into Gidayu, it appears that the original storytelling technique of Joruri was abandoned, and it was all about singing. This type of Joruri is called "Uta-joruri." Other styles that followed Bungo-no-jo include Shoden-bushi, Shigeta-yubushi, and Sonohachi-bushi (also called Miyazono-bushi).

[Yoshihiro Kurata]

Edo Joruri

Gidayu-bushi was also popular in Edo, where works such as "Shinrei Yaguchi no Watashi" written by Hiraga Gennai, "Koimusume Mukashi Hachijo" and "Kagamiyama Kokyo no Nishikie" were performed. In Gidayu-bushi, these works that were born in Edo are called "Edo Joruri." This term is also used in a broader sense to refer to various types of Joruri that were performed in Edo. This may be because the schools that were popular in Edo were only loved and sung in Edo until recent years, and did not spread to other places.

By the way, when Miyakoji Bungonojo went down to Edo in 1732 (Kyoho 17), Katobushi was flourishing. It was a leading school founded by Edo Tayu Katou, who was a disciple of Edo Handayu, but he only performed at theaters for about 50 years, and except for "Sukeroku", it was received by a certain group of people as zashiki joruri. The same was true of the Miyako Itchu school that came down from Kyoto, and today Katobushi, Itchu-bushi, Sonohachi-bushi and other styles are collectively called "kokyoku". Next, Tokiwazu-bushi is a joruri that was founded by Mojitayu, a disciple of Miyakoji Bungonojo (date of establishment unknown). One of Mojitayu's disciples separated from the school in 1748 (Kan'en 1) and became Tomimoto Buzennojo. He is the founder of Tomimoto-bushi. Furthermore, in 1814 (Bunka 11), Itsukidayu split off from Tomimoto and established Kiyomoto-bushi under the name Kiyomoto Enjudayu. As all three schools are descended from Bungonojo, Tokiwazu, Tomimoto and Kiyomoto are known as the three Bungo schools or Bungo-bushi. All of them are indispensable to Kabuki dance and have strong characteristics of uta joruri.

The above is the commonly held belief about the founding of the Bungo Three Schools, but in fact there is no conclusive evidence linking Bungonojo with Tokiwazu. In fact, there is a lot of evidence to the contrary, and the musical styles are also different. Further research is needed. It is also said that Shinnai-bushi also originated from Bungonojo. Perhaps because of the different rhythm, it is rarely used in theaters and is therefore excluded from the Bungo Three Schools.

[Yoshihiro Kurata]

Policies and self-regulation

From the Edo period to the early Meiji period, government officials constantly emphasized labor in order to improve productivity. As a result, the performing arts were marginalized, and those who worked in them were discriminated against. During the Tenpo Reforms (1842), Osaka gidayu storytellers who were staying in Edo were prohibited from talking to ordinary people or receiving money, and were ordered to wear sandals with cut-off ends. In Kyoto, a prohibition was issued that prohibited "purification, hauta, and training." The titles of gidayu-bushi were also interfered with, and in the 1750s (Horeki era), the "shogun" and "azuma" (eastern) characters in "Shogun Taro Azuma Bundan" were ordered to be changed. In one case, an entire act could not be performed simply because a banned gun was included in the text. After the Meiji period, works related to the dignity of the Imperial family or personal honor were refrained from being performed, and obscene lyrics were voluntarily revised. In particular, many Kiyomoto lyrics were changed, and the title of a Tokiwazu piece, "Shinobiyoru Koi Hakusemono" became "Shinobiyoru Koi Yose." Taking a look at this process will be of great help in understanding Joruri.

[Yoshihiro Kurata]

[References] | Gidayu | Kiyomoto | Tokiwazu

Joruri/School family tree
©Shogakukan ">

Joruri/School family tree

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

日本音楽の一種目。平曲(へいきょく)・謡曲・説教などを源流とした語物(かたりもの)。現代では三味線を伴奏に使い、台詞(せりふ)と旋律によって物語を進めていく音曲(おんぎょく)の総称。義太夫節(ぎだゆうぶし)の異称でもある。

［倉田喜弘］

初期の形態

起源はさだかでないが、1531年（享禄4）連歌師(れんがし)宗長(そうちょう)は静岡で座頭(ざとう)に「浄瑠璃をうたはせ」た（『宗長日記』）。また伊勢(いせ)の神官荒木田守武(あらきだもりたけ)は、1540年（天文9）の『守武千句』で浄瑠璃を題材に詠んでいる。こうした資料に基づき、1880年（明治13）に修史館一等編修官の重野安繹(しげのやすつぐ)は、浄瑠璃の成立時期を足利義政(あしかがよしまさ)から義晴の間（1453～1546）とみなした。初期の語物は、三河国(みかわのくに)（愛知県）矢矧(やはぎ)の長者の娘浄瑠璃と牛若丸の『浄瑠璃物語』で、これから「浄瑠璃」という名称が生まれたといわれている。この物語は12段に分かれているため、「浄瑠璃十二段」とか「十二段草子」ともいう。『阿弥陀胸割(あみだのむねわり)』『牛王姫(ごおうのひめ)』など神仏霊験(れいげん)の物語も行われた。演じるときは、扇を開いて左手に持ち、右手の爪先(つまさき)で骨と地紙をかき鳴らして拍子をとったと、竹本義太夫は『鸚鵡ヶ杣(おうむがそま)』（1711）に記している。そうした浄瑠璃が、いつのころか人形や三味線と結び付いて人形芝居になった。1500年代の末、豊臣秀吉(とよとみひでよし)は京都の人形芝居を四条河原へ移しているから、すでに興行化していたことがわかる。しかし初期の展開には不明な点が多く、また浄瑠璃の形式も未成熟であったから、義太夫節以前の浄瑠璃を「古浄瑠璃」と総称する。

［倉田喜弘］

古浄瑠璃

徳川家康が江戸の町づくりを始めた1600年代初頭（慶長・元和）、薩摩浄雲(さつまじょううん)や杉山丹後掾(すぎやまたんごのじょう)が江戸浄瑠璃の開祖となった。続いて永閑節(えいかんぶし)や肥前節(ひぜんぶし)も生まれてくるが、和泉太夫(いずみだゆう)（のち桜井丹波少掾(たんばのしょうじょう)）の出現で金平浄瑠璃(きんぴらじょうるり)が大流行する。坂田金時の子金平が剛勇を振るう物語で、そのほか『四天王武者執行(してんのうむしゃしゅぎょう)』『渡辺岩石割(がんせきわり)』など、源頼光(みなもとのよりみつ)や渡辺綱(わたなべのつな)の武勇談も愛好された。振袖火事(ふりそでかじ)が起こる1657年（明暦3）前後のことである。この和泉太夫の語り口を柔らかくしたのが土佐少掾で、義太夫節のなかに土佐節の名でおもかげを残している。京都では、古くに目貫屋長三郎(めぬきやちょうざぶろう)、次郎兵衛(じろべえ)、六字南無右衛門(ろくじなむえもん)らがいたようだが、詳しいことはわからない。1600年代後半になって、山本角太夫(やまもとかくたゆう)、松本治太夫(まつもとじだゆう)、宇治加賀掾(うじかがのじょう)らが輩出し、ようやく浄瑠璃の音曲性が明らかになる。この時代、大坂では井上播磨掾(いのうえはりまのじょう)、伊藤出羽掾(いとうでわのじょう)、岡本文弥(おかもとぶんや)らが活躍したが、とりわけ井上播磨掾の演奏は竹本義太夫に大きな影響を与えた。なお説経節(せっきょうぶし)では、大坂与七郎、佐渡七太夫、江戸の天満八太夫らが、『苅萱(かるかや)』『三荘太夫(さんしょうだゆう)』『百合若大臣(ゆりわかだいじん)』などを語っている。

［倉田喜弘］

竹本義太夫以後

1684年（貞享1）竹本義太夫は大坂道頓堀(どうとんぼり)に竹本座を建てた。これを義太夫節の紀元元年とする。義太夫は古浄瑠璃を集大成して曲節を整え、物語の表現形式を定めた。また後継者は、浄瑠璃の表現技法や三味線奏法の開発に努めていく。一方、浄瑠璃の骨子となる作品には、近松門左衛門、竹田出雲(たけだいずも)、近松半二(はんじ)、そのほか大ぜいの作者が関与して、浄瑠璃の文学性を高めるかたわら、娯楽性も追求した。そうした作品は、時代物と世話物に大別できる。ごく一例を示すと、時代物は時代浄瑠璃ともいい、貴族社会や武家社会を題材にした『菅原伝授手習鑑(すがわらでんじゅてならいかがみ)』『仮名手本忠臣蔵(かなでほんちゅうしんぐら)』『一谷嫩軍記(いちのたにふたばぐんき)』『妹背山婦女庭訓(いもせやまおんなていきん)』など。また世話物は世話浄瑠璃ともいい、庶民社会のできごとを仕組んだ『心中天網島(しんじゅうてんのあみじま)』『新版歌祭文(うたざいもん)』『艶容女舞衣(はですがたおんなまいぎぬ)』など。これらの作品は、経済都市大坂の力を背景に日本列島全域へ広がり、義太夫節は浄瑠璃の一大主流という地位を築き上げた。歌舞伎(かぶき)も浄瑠璃作品の舞台化に努め、あわせて演奏形式までも取り入れたので、義太夫節は近世日本演劇にとって不可欠の存在になった。また、義太夫以降の浄瑠璃本（丸本(まるほん)）と現存の演奏を観察、分析するとき、近世日本人がもっていた音楽性の変化が鮮やかに浮かび上がる。ただ義太夫節は、どちらかといえば叙事的な表現に優れており、時代物に特色がみられる。そのためであろうか、世話物では豊後節(ぶんごぶし)が人気を博した。

　豊後節は宮古路節(みやこじぶし)ともいい、優艶(ゆうえん)なメロディを駆使して叙情を主とする。1720～1730年代（享保）に宮古路豊後掾が創始したが、1830年代（天保）に廃れたようだ。大量に残っている歌本と義太夫化された曲節から推し量ると、浄瑠璃本来の語るという技法は捨て去られ、歌うことに終始している。このような浄瑠璃を「唄浄瑠璃(うたじょうるり)」とよぶ。豊後掾の流れをくむものから、正伝節(しょうでんぶし)、繁太夫節(しげたゆうぶし)、薗八節(そのはちぶし)（宮薗節ともいう）なども生まれた。

［倉田喜弘］

江戸浄瑠璃

義太夫節は江戸でも流行し、平賀源内が著した『神霊矢口渡(しんれいやぐちのわたし)』をはじめ、『恋娘昔八丈(こいむすめむかしはちじょう)』『加賀見山旧錦絵(かがみやまこきょうのにしきえ)』などが上演された。これら江戸生まれの作品を、義太夫節では「江戸浄瑠璃」とよぶ。この用語はさらに広義に使用されて、江戸で行われた各種の浄瑠璃をさす場合もある。江戸でもてはやされた諸流派が、近年に至るまで江戸だけで愛唱され、各地へ広がらなかったためでもあろう。

　ところで、1732年（享保17）宮古路豊後掾が江戸へ下ったころは、河東節(かとうぶし)が栄えていた。江戸半太夫(はんだゆう)の門から出た江戸太夫河東がおこした一流だが、約50年間劇場へ出演しただけで、「助六」以外は座敷浄瑠璃として、一部の人たちから迎えられてきた。京都から下った都一中(みやこいっちゅう)の流儀もそうで、今日、河東節、一中節、薗八節などは「古曲」と総称されている。次に常磐津節(ときわずぶし)は、宮古路豊後掾の門弟文字太夫(もじたゆう)がおこした浄瑠璃である（成立期未詳）。この文字太夫の門弟の一人が、1748年（寛延1）に分離して富本豊前掾(とみもとぶぜんのじょう)となった。富本節の始祖である。さらに1814年（文化11）斎宮太夫(いつきだゆう)は富本から分かれ、清元延寿太夫(きよもとえんじゅだゆう)の名で清元節をたてた。3流ともに豊後掾の流れをくんでいるので、常磐津、富本、清元を、豊後三流あるいは豊後節とよぶ。いずれも歌舞伎舞踊に欠かすことのできないもので、唄浄瑠璃の性格が濃い。

　以上が豊後三流成立の通説であるが、実は豊後掾と常磐津を結び付ける確証は知られていない。むしろ反証が多く、音楽性も異なる。今後の研究をまたなければならない。なお、新内節(しんないぶし)も豊後掾から生まれたといわれている。リズムのとり方が違うためであろうか、劇場で用いられることは少なく、豊後三流から除外されている。

［倉田喜弘］

取締りと自主規制

江戸時代から明治初期にかけては、生産性向上のため、施政者は絶えず労働を強調した。いきおい芸能は疎外され、それに従事する者は差別視された。天保(てんぽう)の改革（1842）の際、江戸滞在中の大坂の義太夫語りは、一般庶民との会話や金銭の授受を禁じられ、草履(ぞうり)も尻切(しりきれ)を履くよう命じられた。京都では、「浄るり、はうた、稽古致間敷事(けいこいたすまじきこと)」という禁令も出ている。義太夫節の題名も干渉され、1750年代（宝暦）には『将軍太郎東文談(あずまぶんだん)』の「将軍」と「東」が、変更を命じられた。禁制の鉄砲を文中に組み込んだばかりに、一段全部の上演が不能となった例もある。明治以降になると、皇室の尊厳や個人の名誉にかかわる作品は見合わされ、また卑猥(ひわい)な歌詞は自主的に改定された。とくに清元の歌詞は変更されるものが多く、常磐津の題名『忍夜恋曲者(しのびよるこいはくせもの)』は『忍夜孝事寄(こうにことよせ)』となった。こうした過程に一顧を与えておくのも、浄瑠璃の理解に役だつところが大きいであろう。

［倉田喜弘］

[参照項目] | 義太夫節 | 清元節 | 常磐津節

浄瑠璃／流派系統図

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