The Divine Spirit Yaguchi-Watashi

Joruri Gidayubushi. Historical piece. Five acts. Written by Fukuuchi Kigai. First performed at the Gekiza Theatre in Edo in January 1770 (Meiwa 7). Based on the Taiheiki, this work dramatizes the deeds of Nitta Yoshisada's family, but the core of the work is the fourth act, "Tonbei-uchi," which depicts the origins of Nitta Myojin Shrine, which is still passed down in Yaguchi-Watashi (Ota Ward, Tokyo), and is often performed as a kabuki play. Commonly known as "Yaguchi-Watashi." After Yoshioki, the son of Yoshisada, was killed by the betrayal of a wicked minister, Yoshioki's younger brother Yoshimine became a defeated warrior and stayed at the house of Tonbei, the ferryman at Yaguchi-Watashi, with his mistress Utena. Tonbei, who had previously murdered Yoshioki, attempts to kill Yoshimine as well to receive the reward money, but his daughter Ofune, who is in love with Yoshimine, lets him escape and takes her father's sword instead. Tonbei is pierced by a flying arrow from the Nitta family and meets his end. This is a representative piece of Joruri written by Hiraga Gennai, a scholar of Western studies and scientist, under the pen name Fukuuchi Onigai, and the lyrics contain many lines that are reminiscent of this work. The play is characterized by the cuteness of Ofune, who is caught between love and filial piety, and the greed of Tonbei, who refuses to change his mind even after the advice of his dying daughter, and Tonbei in particular is skillfully designed to express his character.

[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。5段。福内鬼外(ふくうちきがい)作。1770年（明和7）1月、江戸・外記座(げきざ)初演。『太平記』を原拠に、新田義貞(にったよしさだ)遺族の事跡を脚色した作だが、中心はいまも矢口渡（東京都大田区）に伝わる新田明神の縁起を描いた四段目「頓兵衛内(とんべえうち)」で、歌舞伎(かぶき)でも多く上演される。通称「矢口渡」。義貞の子義興(よしおき)が奸臣(かんしん)の裏切りで滅んだあと、義興の弟義岑(よしみね)は落武者となり、愛人のうてなを連れて矢口渡の渡し守頓兵衛の家に泊まる。かつて義興を謀殺した頓兵衛は、義岑をも討ち取って賞金を得ようとするが、娘お舟は義岑を恋して彼を逃がし、身替りに父の刃(やいば)にかかる。頓兵衛は飛んできた新田家の神矢に貫かれて最期を遂げる。蘭学(らんがく)者・科学者として活躍した平賀源内が福内鬼外の筆名で書いた浄瑠璃の代表作で、詞章にもそれらしい文句が多い。恋と孝との板挟みになるお舟の可憐(かれん)さ、瀕死(ひんし)の娘の諫言(かんげん)にも改心せぬ頓兵衛の強欲さが特色で、とくに頓兵衛には性格を表す演出が巧みにくふうされている。

［松井俊諭］

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