Ukiyogara Hiyoku no Inazuma - Ukiyogara Hiyoku no Inazuma

Kabuki script. Historical domestic drama. 9 acts. Written by Tsuruya Nanboku IV. Also read as "Ukiyozuka~". Commonly known as "Sayaate", "Inazuma Soushi" and "Inazuma Cover". First performed in March 1823 (Bunsei 6) at the Ichimuraza in Edo by Ichikawa Danjūrō ​​VII, Onoe Kikugorō III, Iwai Hanshiro V and Segawa Kikunojō V. Based on the reading book "Mukashibanashi Inazuma Cover" written by Santou Kyoden, the story of Fuwa Banzaemon and Nagoya Sanza is adapted to involve Shirai Gonpachi, Miuraya Komurasaki and Banzuiin Chobei. It has a complex structure, but its most notable scenes are "Sayaatate," in which Banzaemon and Yamaza, who are fighting over the courtesan Katsuragi, clash when their sword sheathes clash in Nakanomachi, Yoshiwara, and "Suzugamori," in which the wanted man Gonpachi comes to Edo and meets Chobei. Both are modern takes on ancient themes, and both have been sophisticatedly directed to become famous and representative Kabuki scenes.

Furthermore, "Yamasan Nami-taku," the first act of "Sayato," depicts the tragic love story of Okuni, a girl with a birthmark, for Yamasan. It features an interesting and eccentric depiction that is typical of Nanboku, in which Katsuragi's lavish travel appearance (played by the same actor as Okuni in a quick change) to the squalid Nami-taku house is shown. Other stories woven into the play include the story of Banzaemon and Katsuragi, brother and sister who fall into the world of beasts, and the story of Gonpachi and Komurasaki who make love to each other unknowingly as enemies.
[Toshiaki Matsui]

"Tsuruya Nanboku Complete Works 9" (1974, Sanichi Shobo)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)脚本。時代世話物。9幕。4世鶴屋南北作。「うきよづか～」とも読む。通称「鞘当(さやあて)」「稲妻草紙」「稲妻表紙」。1823年（文政6）3月江戸・市村座で、7世市川団十郎、3世尾上(おのえ)菊五郎、5世岩井半四郎、5世瀬川菊之丞(きくのじょう)らにより初演。山東京伝(さんとうきょうでん)作の読本(よみほん)『昔話(むかしばなし)稲妻表紙』から不破伴左衛門(ふわばんざえもん)、名古屋山三(なごやさんざ)の物語に、白井権八(しらいごんぱち)と三浦屋小紫(こむらさき)、幡随院(ばんずいいん)長兵衛を絡ませて脚色。複雑な構成だが、なかでも、傾城葛城(けいせいかつらぎ)をめぐって争う伴左衛門と山三が吉原仲の町で刀の鞘を当てたことから切り合いになる「鞘当」と、お尋ね者の権八が江戸へきて長兵衛と出会う「鈴ヶ森(すずがもり)」は、ともに古くからの趣向を現在の形に完成させたもので、いずれも演出が洗練され、歌舞伎の代表的名場面になっている。

　また「鞘当」の前幕の「山三浪宅」は、痣娘(あざむすめ)お国の山三に寄せる悲恋を描いた場面で、むさ苦しい浪宅へ葛城の豪華な道中姿（お国と同じ俳優が早替りで演じる）を見せるという南北らしい奇抜な描写がおもしろく、ほかに伴左衛門と葛城が兄妹で畜生道に陥る話や、権八と小紫が敵(かたき)同士と知らずに契る話なども織り込まれている。　
［松井俊諭］

『『鶴屋南北全集9』（1974・三一書房）』

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