Narukami - Narukami

Kabuki play. Historical piece. One act. Collaboration between Tsuuchi Hanjuro, Yasuda Abun, and Nakata Mansuke. It is the fourth act of "Narukami Fudo Kitayama Sakura," which premiered in January 1742 (Kanpo 2) at the Sadoshimaza Theater in Osaka, with Ichikawa Danjuro II as Shonin and Onoe Kikugoro I as Princess Taema, and is one of the "Kabuki Juhachiban." Inspired by the Noh play "Ikkaku Sennin," Danjuro I performed the story of Narukami in his own well-received play "Kadomatsu Shitennou" in 1688 (Genroku 1), and dramatized it by linking it to the court turmoil of the dynasty era. The monk Narukami, who is dissatisfied with the Imperial Court, uses his magic to seal the dragon god in a waterfall, causing the country to suffer from drought, but the beautiful Princess Zessama, who receives an imperial command, seduces the monk, causing Narukami to break his precepts and discipline, resulting in heavy rain. The play was discontinued after the end of the Edo period, but was revived in 1910 (Meiji 43) by Ichikawa Sadanji II with a script by Oka Kitaro. The play is composed almost entirely of pure dialogue, but in the second half, when Narukami realizes he has been deceived and goes on a rampage, it takes on a typical aragoto style. The theme of religious discipline succumbing to carnal desires and healthy eroticism have resonated with modern people, and the play is often chosen for kabuki performances overseas.

[Toshiaki Matsui]

"Japanese Classical Literature Series 98: Kabuki Juhachibanshu (1965, Iwanami Shoten)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)劇。時代物。一幕。津打半十郎、安田蛙文(あぶん)、中田万助合作。1742年（寛保2）1月、大坂・佐渡島(さどしま)座で2世市川団十郎の鳴神上人(しょうにん)、初世尾上(おのえ)菊五郎の雲の絶間(たえま)姫らによって初演された『雷神不動北山桜(なるかみふどうきたやまざくら)』の四幕目が独立したもので、「歌舞伎十八番」の一つ。能『一角(いっかく)仙人』にヒントを得て初世団十郎が1688年（元禄1）、自作の『門松四天王(かどまつしてんのう)』で演じ好評を得た鳴神の話を、王朝時代の宮廷騒動に結び付けて脚色。朝廷に不満をもつ鳴神上人は、竜神を滝壺(たきつぼ)に法力で封じ込めたため、天下は日照りに悩まされるが、勅命を受けた美女絶間姫が色仕掛けで上人を誘惑、ついに鳴神は破戒して行法も破れ、豪雨になる。幕末以後中絶していたのを、1910年（明治43）2世市川左団次が岡鬼太郎(おにたろう)の台本によって復活した。ほとんど純粋の会話劇として構成され、後半、欺かれたと知った鳴神が暴れ出してからは典型的な荒事(あらごと)形式になる。信仰による戒律が肉欲に屈服するというテーマと健康なエロチシズムが近代人の共感をよび、歌舞伎の海外公演でも演目に選ばれることが多い。

［松井俊諭］

『郡司正勝校注『日本古典文学大系98　歌舞伎十八番集』（1965・岩波書店）』

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