Diary of the Two Butterflies

Joruri Gidayubushi. Sewamono (domestic drama). Ninth dan. A collaboration between Takeda Izumo, Miyoshi Shoraku, and Namiki Senryu. First performed in July 1749 (Kan'en 2) at the Takemotoza Theater in Osaka. The story is based on the exploits of Nuregami Chogoro, a sumo wrestler who is said to have existed during the Kyoho era (1716-1736), and is adapted from characters in Nebiki no Kadomatsu by Chikamatsu Monzaemon. The title "Sochocho" refers to the names of the two sumo wrestlers, Chogoro and Chokichi. The story is about Osaka's famous sumo wrestler Nuregami Chogoro, who runs around trying to save his benefactor's son Yamazaki Yogoro and his lover Azuma. Other people involved in the story include sumo wrestler Hanaregoma Chokichi, the son of a rice merchant, his sister Oseki, Yamazaki's retainer Minami Yohei, and his mistress Miyako (later his wife Ohaya). The two most famous plays are the second act, "Sumoba," and the eighth act, "Hikimado," which are often performed as kabuki. In "Sumoba," Azuma is about to be bought by a samurai from the west, Hiraoka Gozaemon, so Nuregami concedes the victory in a sumo match against Hanaregoma, who is sponsored by Hiraoka, and asks for a postponement of the buying-out of Azuma, but Hanaregoma refuses, leading to a quarrel and a break-up. The depiction of the scenery near the sumo ring and the contrast between the two wrestlers make this a short but well-watched piece. "Hikimado" is the scene in which Nurekami, who has become a wanted man after killing Hiraoka and his men, visits his biological mother in the village of Yahata. His mother is the second wife of the late father of Minami Yohei, the head of the family. Yohei succeeded his father, Nanpo Jujibei, and was appointed as an official to capture Nurekami, but he understands his mother-in-law's feelings and works hard with Ohaya to save his brother-in-law. When Nurekami makes up his mind and uses his mother's hands to grab the rope of the hikimado, Yohei cuts the rope and, likening the moonlight that shines through to dawn, lets Nurekami escape by saying that it is not his role during the day. The play is excellent in its depiction of the stagecraft unfolding around the hikimado, the poetic sentiment of autumn, and the intertwining of obligations and human feelings between the characters.

[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)。世話物。九段。竹田出雲(いずも)・三好松洛(みよししょうらく)・並木千柳(せんりゅう)合作。1749年（寛延2）7月、大坂・竹本座初演。享保(きょうほう)年間（1716～36）に実在したという力士濡髪(ぬれがみ)長五郎の事跡を、近松門左衛門作の『寿門松(ねびきのかどまつ)』の登場人物を絡ませて脚色。名題(なだい)の「双蝶々」は長五郎と長吉という2人の力士の名を示している。大坂名代の力士濡髪長五郎が恩人の子山崎与五郎とその恋人の吾妻(あづま)のために奔走する話で、これに米屋の息子の力士放駒(はなれごま)長吉とその姉おせき、山崎の家来筋の南与兵衛(なんよへえ)とその愛人遊女都(みやこ)（のち女房お早）などが絡む。とくに有名なのは二段目「角力場(すもうば)」と八段目「引窓(ひきまど)」で、歌舞伎(かぶき)でもしばしば上演される。「角力場」は、吾妻が西国(さいこく)の侍平岡郷左衛門に身請けされそうになるので、濡髪が平岡の後援する放駒との相撲(すもう)に勝ちを譲り、吾妻身請けの延期を頼むが、放駒が拒否して喧嘩(けんか)別れになるまで。相撲場付近の情景描写と両力士の対照の妙によって、短いながら見ごたえがある。「引窓」は、平岡たちを殺して御尋ね者になった濡髪が、八幡(やはた)の里の実母を訪れる場面。母はその家の当主南与兵衛の亡父の後妻で、与兵衛は親の名南方十次兵衛(なんぽうじゅうじべえ)を継ぎ、濡髪捕縛の役人に任命されたが、義母の心を察し、義弟を救うためにお早とともに苦心する。濡髪が覚悟を決めて母の手で引窓の縄にかかると、与兵衛はその縄を切り、差し込む月光を夜明けに見立て、昼間は自分の役目でないといって濡髪を逃がしてやるという筋。引窓をかせに展開される舞台技巧と秋の詩情、登場人物間の義理と人情の絡み合いの描写が優れている。

［松井俊諭］

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