The Chronicles of the Battle of Ichinotani

Joruri Gidayubushi. Historical piece. Five acts. A collaboration between Namiki Sosuke, Asada Itcho, Namioka Geiji, Namiki Shoza, Namba Sanzo, and Toyotake Jinroku. First performed at the Toyotakeza Theater in Osaka in December 1751 (the first year of the Horeki era). It was adapted into a kabuki play in May of the following year. It is an adaptation of the Ichinotani Battle, one of the most popular parts of The Tale of the Heike, and consists of two stories: Kumagai Jiro Naozane and Mukan no Tayu Atsuri, and Okabe Rokuyata and Satsuma no Kami Tadanori. Kumagai's story is more popular and is often performed as both a puppet and kabuki play. Commonly known as "Kumagaya."

First stage - Minamoto no Yoshitsune gives Kumagai Naozane a sign stating, "If you cut one branch, you must cut one finger," and uses the cherry blossom as an analogy to imply that he should spare the lives of the Heike nobles. Second stage - At Sumaura, Kumagai calls back Atsumori, who has sailed into the sea, and kills him. Atsumori's fiancée, Tamaorihime, is killed by Hirayama Mushadokoro, who is in wicked love with him. Kumagai holds a passionate funeral for Atsumori and the princess. This scene is also called "Dantokusan" because there is a line in Joruri that compares Kumagai's feelings to those of Buddha entering a mountain, "Dantokusen's sorrowful separation." Third act (Kumagaya Jin'ya) - Kumagai's wife Sagami visits the camp at Ikutamori, concerned about the safety of her son Kojiro. Atsumori's mother Fuji seeks revenge on Kumagai, but when Atsumori's head is inspected in front of Yoshitsune, the surprising truth is revealed. In order to embody Yoshitsune's will and repay the kindness she had received from Fuji, Kumagai pretends to kill Atsumori at Sumaura, but in fact uses Kojiro as a substitute. Meanwhile, Yoshitsune recognizes the stonemason Midaroku, who is secretly mourning the souls of the Heike clan, as Yaheibei Munekiyo, and thanks him for sparing his life when he was a child, giving him the armor chest in which he had hidden Atsumori as a gift. Kumagai becomes a monk and mourns Kojiro.

It is a masterpiece that conveys the futility of war and Bushido. "Jin'ya" in particular has many highlights, such as the "Story" in which Kumagai describes the battlefield to Fujino, the large pose in which he carries a sign during the "Inspection of the Head" scene, and Sagami's lament. It is also frequently performed as a sophisticated scene.

[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。並木宗輔(そうすけ)、浅田一鳥(いっちょう)、浪岡鯨児(なみおかげいじ)、並木正三(しょうざ)、難波三蔵(なんばさんぞう)、豊竹(とよたけ)甚六合作。1751年（宝暦1）12月大坂・豊竹座初演。翌年5月には歌舞伎(かぶき)に移された。『平家物語』のなかでもとくに親しまれた一ノ谷合戦を脚色、熊谷次郎直実(くまがいじろうなおざね)と無官太夫敦盛(むかんのたゆうあつもり)、岡部六弥太(おかべろくやた)と薩摩守(さつまのかみ)忠度(ただのり)の二つの筋で構成されるが、熊谷の話が人気をよんで、人形でも歌舞伎でも多く上演される。通称「熊谷」。

　初段―源義経(よしつね)は熊谷直実に「一枝(いっし)を切らば一指(いっし)を切るべし」の制札を与え、桜の花にたとえて平家の公達(きんだち)の命を助けよとの意をほのめかす。二段口(くち)（陣門、組討(くみうち)）―須磨浦(すまうら)で熊谷は沖に乗り入れた敦盛を呼び返して討つ。敦盛の許嫁(いいなずけ)玉織姫(たまおりひめ)は、邪恋の平山武者所(ひらやまのむしゃどころ)に切られる。熊谷は敦盛と姫の死骸(しがい)をあつく弔う。浄瑠璃に熊谷の心境を釈迦(しゃか)入山にたとえた「檀特山(だんとくせん)の憂(う)き別れ」という文句があるので「檀特山」ともよばれる場面。三段目（熊谷陣屋）―熊谷の妻相模(さがみ)は、わが子小次郎の安否を気遣って生田森(いくたのもり)の陣所を訪れる。敦盛の母藤(ふじ)の方は、熊谷を仇(あだ)とねらうが、義経の前で敦盛の首実検が行われると、意外な真相が判明する。熊谷は義経の意を体し、藤の方から受けた恩を返すため、須磨浦で敦盛を討つとみせて実は小次郎を身代りに立てたのだった。一方、義経は、ひそかに平家の菩提(ぼだい)を弔う石屋弥陀六(みだろく)を弥平兵衛宗清(やへいびょうえむねきよ)と見破り、幼時に助命された恩を謝し、贈り物として敦盛を隠した鎧櫃(よろいびつ)を与える。熊谷は出家して小次郎を弔う。

　戦争と武士道のむなしさを感じさせる名作で、ことに「陣屋」は、熊谷が藤の方に戦場のようすを述べる「物語」、「首実検」で制札を担いだ大見得(みえ)、相模の愁嘆など見どころが多く、また、演出の洗練された場面として上演回数も多い。

［松井俊諭］

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