Fuji Matsurochu

A Shinnai tayu who is said to be the founder of the revival of the Shinnai style. The first generation. His real name was Nonaka Hikobei. He was a disciple of the third head of the Tsuruga school, Tsuruga Tsurugichi, and his previous name was Tsuruga Kaga Hattayu. In the early Tenpo era (1830-44), he was adopted by his wife Sada and the couple at the Sagaraya boat lodge in Miyoshi-cho, Asakusa, Edo. In 1838 (Tenpo 9), he was excommunicated after causing controversy within the group over a love affair with the third head's daughter, Hide, and for a time he took the name Miyakoji Kagatayu, but soon afterwards he restored the head of the Fujimatsu school, which had been discontinued at the time, and changed his name to Fujimatsu Kagatayu Rouchu, and in later years he exclusively referred to himself as Rouchu. At this time, he was forbidden by the Tsuruga school to perform traditional hamono (traditional Japanese drama), and he called his own style "Fujimatsu Joruri." He abhorred the trend of the time of striving to appeal to the masses, and made an effort to incorporate other styles, including Icchu-bushi. He advocated learning from the past for the new, and was eager to return to his noble origins. From the Kaei to Ansei eras (1848-60), he devoted himself to new works with the help of his disciples, including the first Fujimatsu Shicho (1827-1902), known as Kurume Shicho, and left behind many masterpieces, including "Masayume" and "Hizakurige." The second generation was succeeded by the founder's eldest son, Fukutaro (1852-96), whose real name was Shimadayu, in 1893 (Meiji 26). Later, after the death of his younger brother's second son, the fifth generation Kagadayu, he took on the name of the sixth generation Kagadayu.

[Kiyohiro Hayashi and Yukinori Moriya]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

新内節中興の祖といわれる新内の太夫。初世。本名野中彦(ひこ)兵衛。鶴賀(つるが)3世家元鶴吉の門弟で前名鶴賀加賀八太夫。天保(てんぽう)（1830～44）初年に江戸・浅草三好町の船宿相良屋(さがらや)へ妻さだと夫婦養子となる。1838年（天保9）3世家元の娘ひでとの恋愛問題で社中に物議をかもして破門され、一時都路(みやこじ)加賀太夫を名のったが、まもなくそのころ中絶状態の富士松派家元を再興して富士松加賀太夫魯中と改名し、後年はもっぱら魯中を称した。このとき鶴賀派より在来の端物(はもの)を語ることを差し止められ、自流を「富士松浄瑠璃(じょうるり)」と称し、俗受けをねらう当時の傾向を忌み、一中(いっちゅう)節をはじめ他流の摂取に努めた。温故知新を標榜(ひょうぼう)して気品のある原点に立ち戻る意欲に燃え、嘉永(かえい)～安政(あんせい)（1848～60）にかけて久留米紫朝(くるめしちょう)といわれた初世富士松紫朝（1827―1902）をはじめ一門高弟の協力により新作に専念し、『真夢(まさゆめ)』『膝栗毛(ひざくりげ)』ほか数多くの傑作を残した。なお、2世は初世の長男福太郎（1852―96）、前名島太夫が1893年（明治26）に継承したが、のちに弟の次男5世加賀太夫没後、6世加賀太夫を襲名している。

［林喜代弘・守谷幸則］

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