Sosuke Namiki

A Joruri and Kabuki playwright from the mid-Edo period. His other name was Senryu. He was a monk in his youth, but returned to secular life at about age 30 and became a playwright at the Toyotake Theatre, calling himself Namiki Sosuke (later Sosuke). In 1726 (Kyoho 11), he had a big hit with "Hojo Tokiyori-ki" (The Chronicle of Hojo Tokiyori), and since then he has been active as a stand-up playwright, publishing works such as "Karukaya Doshin Tsukushi no Iedzuto," "Kamagafuchi Futatsudomoe," and "Hibariyamahime Sutematsu." In 1842 (Kanpo 2), he turned to being a Kabuki playwright, writing works such as "Omonguchi Yoroigasane," but in 1845 (Enkyo 2), he returned to the world of Joruri, becoming a playwright for the Takemoto-za, which was in conflict with the Toyotake-za, and changing his name to Namiki Senryu. In collaboration with Takeda Izumo and Miyoshi Shoraku, he wrote masterpieces such as "Sugawara Denju Tenarai Kagami," "Yoshitsune Senbonzakura," "Kanadehon Chushingura," "Summer Festival Naniwa Kagami," and "Futatsuchocho Kuruwa Nikki," bringing about the heyday of Ningyo Joruri. Although the first and second Izumo are credited with writing these works, they are considered to have been essentially written by Senryu. In his later years, he resumed the name of Munesuke and returned to the Toyotakeza Theater, where he died of an illness while writing "Ichinotani Futaba Gunki." In his lifetime, he composed 47 joruri pieces and around 10 kabuki pieces. His style was characterized by complex plots, and many of his pieces were full of spectacle, incorporating kabuki techniques. He had many disciples, and is the ancestor of the joruri and kabuki composers who use the surname Namiki.

[Jiro Yamamoto]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸中期の浄瑠璃(じょうるり)、歌舞伎(かぶき)作者。別号千柳(せんりゅう)。若いころは僧で、30歳ころ還俗(げんぞく)して豊竹(とよたけ)座の作者となり、並木宗助（のちに宗輔）と称した。1726年（享保11）『北条時頼記(じらいき)』で大当りをとり、以来立(たて)作者となって活躍し『苅萱桑門筑紫いえづと(かるかやどうしんつくしのいえづと)』『釜淵双級巴(かまがふちふたつどもえ)』『鷓山姫捨松(ひばりやまひめすてまつ)』などを発表。42年（寛保2）から歌舞伎作者に転じて『大門口鎧襲(おおもんぐちよろいがさね)』などを書いたが、45年（延享2）に浄瑠璃界に復帰、豊竹座と対立していた竹本座の作者となって並木千柳と改め、竹田出雲(いずも)、三好松洛(しょうらく)らとの合作で『菅原伝授手習鑑(すがわらでんじゅてならいかがみ)』『義経千本桜(よしつねせんぼんざくら)』『仮名手本忠臣蔵(かなでほんちゅうしんぐら)』『夏祭浪花鑑(なにわかがみ)』『双蝶々曲輪(ふたつちょうちょうくるわ)日記』などの名作を執筆、人形浄瑠璃全盛期を飾った。なおこれらは初世および2世の出雲が立作者となっているが、実質的には千柳の筆になるものと考えられている。晩年は宗輔の名に復して豊竹座に帰り、『一谷嫩軍記(いちのたにふたばぐんき)』を執筆中病没した。生涯の作は浄瑠璃が47編、歌舞伎は10編前後ある。その作風は複雑な筋立てが得意で、歌舞伎の手法を取り入れたスペクタルに富むところが多い。門弟が多く、並木姓を名のる浄瑠璃・歌舞伎作者の祖である。

［山本二郎］

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