New Usuyuki Monogatari - Shin Usuyuki Monogatari

Joruri Gidayubushi. Historical piece. Three acts. A collaboration between Bunkodo, Miyoshi Shoraku, Ogawa Hanpei, and Takeda Koizumo. First performed in May 1741 (Kanpo 1) at the Takemotoza Theater in Osaka. It is an adaptation of the Usuyuki Monogatari (1632) Usuyuki story, commonly known as Shin Usuyuki or Usuyuki. Three months after the premiere, it was adapted into a kabuki play, and only the first volume, Kiyomizu Hanami, the middle volume, Saizaki Teisengi and Sonobe Teisen, and the bottom volume, Kajiya, remain to this day, and these four scenes are often performed together. "Hanami" is a scene where Sonobe Hyoe's son Saemon and Iga no Kami's daughter Usuyukihime talk about their love with the help of Yakko Tsumahei and Magaki, who are the mediators, with the gorgeous Kannondo Hall of Kiyomizu in the background. The story is about swordsmith Dankuro, who is on the side of Akizuki Daizen, who aims to rule the country, making a file mark on the sword that Saemon has donated. The colors and patterns of the princess and Saemon, and Tsumahei's fighting style are full of old-fashioned beauty. In "Sengi," Ozen's scheme leads to Saemon and Princess Usuyuki being accused of adultery and even treason, but Katsuragi Minbu makes a rational decision, sending the princess to the Sonobe family and Saemon to the Kozaki family. Minbu's clear-sighted judgment is a highlight of the scene. In "Gasara," Hyoe and Iga no Kami each let their children escape, then both take responsibility and commit seppuku, and then, realizing each other's parental feelings, the three share a bitter laugh with Hyoe's wife Ume no Kata. This is also known as "The Three Laughs." The scene is one of the most elegant in classical drama, with the poignant depiction of parental affection, the performance of Kagebara, who appears hiding his intention to commit seppuku, and the ironic technique of the three main characters laughing together while enduring their pain and sorrow. In "The Blacksmith," Kunitoshi, the son of Raikuniyuki, who was killed by Daizen in Shimizu, becomes an apprentice to Goro Masamune under the name of Yoshisuke, is taught the secret techniques, and serves Princess Usuyuki, who has been hidden away. Dankuro loses one arm to his father Masamune while trying to steal the secret temperature of the bath, but has a change of heart and drives away the assassins of Daizen and his gang. This scene is a highlight, as it tells the story of Dankuro's wounded life and his fight with only one arm.

[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)。時代物。3段。文耕堂(ぶんこうどう)、三好松洛(みよししょうらく)、小川半平、竹田小出雲(こいずも)合作。1741年（寛保1）5月、大坂・竹本座初演。浮世草子『薄雪物語』（1632）の脚色で、通称「新薄雪」または「薄雪」。初演の3か月後には歌舞伎(かぶき)化され、上の巻「清水花見(きよみずはなみ)」、中の巻「幸崎邸詮議(さいざきていせんぎ)」「園部邸合腹(そのべていあいばら)」、下の巻「鍛冶屋(かじや)」が現代に残り、この4場が通しで多く上演される。「花見」は、華やかな清水の観音堂を背景に、園部兵衛(ひょうえ)の息左衛門(さえもん)と幸崎伊賀守(いがのかみ)の息女薄雪姫が奴(やっこ)妻平(つまへい)と腰元籬(まがき)のとりもちで恋を語る場面。天下をねらう秋月大膳(あきづきだいぜん)にくみする刀鍛冶団九郎が、左衛門の奉納した太刀(たち)に調伏のやすり目を入れるという筋(すじ)で、姫と左衛門の色模様、妻平の立回りなど、古風な様式美に満ちている。「詮議」は、大膳の策謀により左衛門と薄雪姫が密通の罪のほか反逆の疑いまでかけられるが、葛城民部(かつらぎみんぶ)の情理ある裁断により、姫は園部家へ、左衛門は幸崎家へ預けられる場面で、民部の明快なさばき役の演技が見どころ。「合腹」は、兵衛・伊賀守がそれぞれ子供を逃し、責を負ってともに腹を切り、互いの親心を知って兵衛の妻梅の方と3人で苦しい笑いを交わす、という筋で別名「三人笑い」。親の情愛が痛切に描かれ、切腹を隠して登場する陰腹(かげばら)の演技、3主役が苦痛と悲哀をこらえて笑い合う皮肉な技巧により、古典劇中でも有数の格調高い場面といえる。「鍛冶屋」は、清水で大膳に殺された来国行(らいくにゆき)の息国俊(くにとし)が、吉助の名で五郎正宗(まさむね)に弟子入りして極意を授けられ、かくまわれていた薄雪姫の供をする。団九郎は秘密の湯加減を盗もうとして父正宗に片腕を切られ、改心して大膳一味の討っ手を追い散らす。この場は団九郎の手負いになっての物語と片腕1本での立回りが見ものである。

［松井俊諭］

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