Double suicide - Shinjumono

Japanese: 心中物 - しんじゅうもの

A classification term for kabuki plays, puppet shows, joruri, and other shamisen music pieces. A general term for works that are dramatized based on real-life cases of love suicide. The first work was a kabuki drama adaptation of the double suicide between the prostitute Yamatoya Ichinojo and Goseno Choemon, which occurred in Osaka in 1683, performed at the Arashi Sanemonza Theater in the same city. In puppet shows, it became very popular after Chikamatsu Monzaemon's Sonezaki Shinju became a big hit at the Takemotoza Theater in Osaka in 1703. The dramatic structure usually depicts the process leading up to the love suicide, that is, how the protagonist is driven to commit love suicide by being caught between what is called obligation and human feelings, and ends with a scene in which the man and woman go to commit love suicide, called the michiyukiba. The love suicide itself as a result of the michiyuki is not necessarily depicted. In particular, the popularity of love suicide stories led to real love suicides, and after the prohibition of love suicide stories was issued in 1855 (22), the overwhelming majority of plays avoided the prohibition and instead featured a last-minute solution to the problem and the lives of the protagonists. In puppet theater, however, new material was sought, which resulted in the creation of masterpieces such as "Sugawara Denju Tenarai Kagami" (46) and "Kanadehon Chushingura" (48). The dogyōba was a form of dance drama, and apart from puppet theater using Gidayūbushi, Kabuki theater generally used Bungo-style jōruri (Tokiwazu, Tomimoto, Kiyomoto) (although there were rare cases where Nagauta was used). The jōruri of these dogyōba are passed down independently as jōruri pieces of each school. Works based on the same incident have been repeatedly re-adapted as rewritings of previous works between puppet shows and Kabuki plays, or even within Kabuki plays, changing the Joruri, and also being transferred to other Joruri or shamisen music unrelated to Kabuki, resulting in numerous genres of double suicide plays. Although the real titles of each are unique, they are often commonly referred to by the names of the two main characters, a man and a woman. His representative works include "The Love Suicides at Sonezaki", "Sankatsu Hanshichi" (→Sankatsumono), "Koharu Jihei" (→Kamijimono), "Ohan Choemon" (Miyazono-bushi, Gidayu-bushi, Tokiwazu-bushi, Kiyomoto-bushi), "Koina Hanbei" (Gidayu-bushi, Tomimoto-bushi, Tokiwazu-bushi), "Osome Hisamatsu" (Gidayu-bushi, Tokiwazu-bushi, Tomimoto-bushi), "Ofusa Tokubei" (Gidayu-bushi, Tokiwazu-bushi), "Osono Rokuza" (Gidayu-bushi, Tokiwazu-bushi), and "Urasato Tokijiro" (Shinnai-bushi, Kiyomoto-bushi, Tokiwazu-bushi).

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

歌舞伎劇，人形劇，浄瑠璃，その他三味線音楽の曲の分類用語。現実に起った情死事件を題材として脚色された作品の総称。天和3 (1683) 年に大坂で起きた遊女大和屋市之丞とごせの長右衛門との心中事件を，同地の嵐三右衛門座で歌舞伎劇に脚色上演したのが最初の作品。人形劇では，元禄 16 (1703) 年大坂竹本座の近松門左衛門作『曾根崎心中』の大当り以来大いに流行した。劇的構成としては，情死にいたるまでの経過，すなわち，いわゆる義理と人情の板ばさみによって主人公が情死に追込まれるありさまを描き，最後に男女2人が情死に向う場面「道行場 (みちゆきば) 」で終るのが普通である。道行の結果としての心中そのものは必ずしも描かれない。特に，心中物の流行のために現実の心中が誘発されるようになったため，享保7 (22) 年心中物禁止令が出されたのちは，その禁令に触れることを避けて，土壇場で事件が解決して主人公男女が助かるという型が圧倒的に多くなり，人形浄瑠璃では新素材を求めたため，かえって『菅原伝授手習鑑』 (46) ，『仮名手本忠臣蔵』 (48) 以下の名作を生む結果となった。道行場は舞踊劇の形式で，義太夫節を用いる人形劇は別として，歌舞伎劇では豊後系の浄瑠璃 (常磐津，富本，清元) を用いるのが原則 (まれに長唄を用いたものもある) であった。これらの道行場の浄瑠璃は，それぞれの流派の浄瑠璃の曲として独立して伝承される。同一の事件を原拠とする作品が，人形劇と歌舞伎劇の間で，あるいは歌舞伎劇のなかでも浄瑠璃を変えて，先行作品の書替えとして繰返し再脚色され，また，歌舞伎と関係なく他の浄瑠璃や三味線音楽に移曲されるなどして，数多くの系統の心中物の曲ができた。それらは，本名題はそれぞれ独自であるが，通称としては，多くの場合男女2人の主人公の名前で呼ばれる。代表的作品『曾根崎心中』『三勝半七』 (→三勝物 ) ，『小春治兵衛』 (→紙治物 ) ，『お半長右衛門』 (宮薗節，義太夫節，常磐津節，清元節) ，『小いな半兵衛』 (義太夫節，富本節，常磐津節) ，『お染久松』 (義太夫節，常磐津節，富本節) ，『お房徳兵衛』 (義太夫節，常磐津節) ，『お園六三』 (義太夫節，常磐津節) ，『浦里時次郎』 (新内節，清元節，常磐津節) 。

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