Dodoitsu - Dodoitsu

A type of folk song. It is also written as dodoitsu, dodoitsu, dodoitsu, and hyakudoitsu. Depending on the impression given by the lyrics, it is also called a "joka" (love song). This song was loved from the end of the Edo period to the Meiji period, and as long as it had 26 characters, 7-7-7-5, it could be sung in any melody. It is said that the melody of the first dodoitsubo senka (fan song) is the standard for modern songs. It was first sung in Edo in the 1790s (Kansei period), and remains include "Soon after we meet, the dreaded crow announces the morning clouds." Many of the songs sing about the subtleties of human feelings, but from the 1850s (Ansei period) when it reached its heyday, various ideas were put into the song, and songs with themes such as the Fifty-three Stations of the Tokaido, annual events, and Edo's famous places began to appear.

In the 1870s (Meiji period), two trends became clear: hard and soft. For example, in the case of modernization, there were statements such as, "If you hit a man on the head, you will hear the sound of modernization," and "The rules change with modernization, but the way of love remains the same." Of these, the hard line was linked to the Freedom and People's Rights Movement, and played a part in spreading the ideology. For example, Yasuoka Michitaro of Kochi wrote a song with the lyrics "Yoshiya wa na arabiya umi mo, watashi ya jiyuu wo koto koto" (The sea is a good place, but I am the Cape of Good Hope) and published it in a pamphlet entitled "Yoshiya samurai." Needless to say, this was used in the activities of the Rishisha. "Nankai Yoshu" (Collection of Nankai Songs) was also published in Osaka, where he praised Itagaki Taisuke, saying, "Without you, my rights would become like catfish food for society." In any case, dodoitsu had spread to all Japanese people, so in 1904 (Meiji 37), Kuroiwa Ruikou proposed a movement for "Ryoseicho" (authentic folk song) in an attempt to improve the quality of lyrics. At the time, the attack on Port Arthur was in full swing, and the first work published in Yorozuchoho, a newspaper run by Ruikou, was "With a spear as a pillow, I dream of bivouacs, how heartless are the hail of arrows?" However, with the decline of dodoitsu, this movement also disappeared in the 1930s (early Showa period). There is also a theory that considers the "Godobushi" (Kobe Bushi), which was sung in Atsuta, Nagoya, to be the origin of dodoitsu.

[Yoshihiro Kurata]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

俗曲の一種。都々一、都度逸、独度逸、百度一などとも記す。歌詞から受ける印象によって「情歌」(じょうか)ともいう。江戸末期から明治にかけて愛唱された歌で、七七七五の26文字でさえあれば、どのような節回しで歌ってもよかった。現今のものは、初世都々逸坊扇歌(どどいつぼうせんか)の曲調が標準になっていると伝わっている。江戸で歌い出されたのは1790年代（寛政期）のことで、「逢(あ)うてまもなく早や東雲(しののめ)を、憎くやからすが告げ渡る」などが残っている。人情の機微を歌ったものが多いが、最盛期に入る1850年代（安政期）以降は、さまざまな趣向が凝らされ、東海道五十三次や年中行事、あるいは江戸名所といったテーマ別の歌も現れてくる。

　1870年代（明治期）になると、硬軟の二傾向が明確になる。文明開化を例にとると、「ジャンギリ頭をたたいてみれば、文明開化の音がする」「文明開化で規則が変わる、変わらないのは恋の道」などである。このうち、硬派の路線が自由民権運動と結び付き、思想の浸透に一役買っている。すなわち、高知の安岡道太郎は「よしや憂き目のあらびや海も、わたしゃ自由を喜望峰」といった歌をつくり、『よしや武士』と題する小冊子にした。立志社の活動に用いられたのは、いうまでもない。大阪でも『南海謡集』(なんかいようしゅう)が出版され、「君が無ければ私(わた)しの権も、鯰(なま)づ社会の餌(えさ)となる」と、板垣退助を称賛している。とにかく、都々逸は全日本人の間に行き渡っていたので、1904年（明治37）、黒岩涙香(くろいわるいこう)は歌詞の質を高めようと、「俚謡正調」(りようせいちょう)の運動を提唱した。おりから旅順攻撃の真っ最中で、涙香が経営する『萬朝報』(よろずちょうほう)に発表された第一作は、「戟(ほこ)を枕(まくら)に露営の夢を、心ないぞや玉あられ」であったが、都々逸の衰退とともに、この運動も30年代（昭和初期）に消滅した。なお、名古屋の熱田(あつた)で歌われた『神戸節』(ごうどぶし)を都々逸の起源であるとみなす説もある。

［倉田喜弘］

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