Yoshitsune Senbonzakura

Japanese: 義経千本桜 - よしつねせんぼんざくら

A joruri gidayu (Japanese traditional puppet theatre). Historical piece. Five acts. A collaboration between Takeda Izumo II, Miyoshi Shoraku, and Namiki Senryu. First performed at the Takemotoza Theater in Osaka in November 1747 (Enkyo 4). Commonly known as "Senbonzakura." When Minamoto no Yoshitsune was downtrodden, three Heike generals, Shinchuunagon Tomomori, Sanmi no Chujo Koremori, and Noto no Kami Noritsune, were actually still alive and planning to rise again. The story is adapted from a legend from the Yoshino region. It is considered one of the three great masterpieces of Joruri, along with "Sugawara Denju Tenarai Kagami" and "Kanadehon Chushingura." The year after its premiere, it was adapted into Kabuki, and became a popular representative piece in both Ningyo Joruri and Kabuki.

[Toshiaki Matsui]

First grade - Ouchi, Kitasagaan-mura, Horikawa Palace (Kawagoe envoy)

After the downfall of the Taira clan, Yoshitsune was given a Hatsune drum by the Minister of the Left, Fujiwara Tomokata, in the name of an imperial edict, which contained a riddle telling him to kill his brother, Yoritomo. On the other hand, Yoritomo was suspicious of Yoshitsune for not killing Tomomori, Koremori, and Noritsune, and for marrying Kyono-kimi, the daughter of Taira Tokitada. He explained his situation to Yoritomo's envoy, Kawagoe Taro, by saying that Kyono-kimi had committed suicide, but he was forced to flee the capital when his vassal, Benkei, clashed with the Kamakura forces. Meanwhile, Yorimori's concubine, Wakaba no Naishi, and her son, Rokudaigimi, were hiding out in northern Saga, but they set out on a journey accompanied by their loyal retainer, Shumenokokingo, to find Yorimori, who was rumored to be in Yamato.

[Toshiaki Matsui]

Second stage: In front of the Fushimi Inari Shrine gate, Tokai-ya, and Daimonoura

Yoshitsune leaves his concubine Shizuka Gozen and Hatsune no Tsuzumi in the care of Sato Tadanobu, who rushes to Fushimi, and heads for Kyushu. The group gets Tokaiya Ginpei to procure a boat at Daimonoura, but this Ginpei is actually Tomomori, who was guarding the young Emperor Antoku together with the Lady of the Palace. Tomomori seizes the opportunity and attacks Yoshitsune in the form of a ghost boat, but is defeated and deeply wounded. He entrusts the young Emperor to Yoshitsune, puts the anchor on his back, and drowns himself.

[Toshiaki Matsui]

Stage 3: Shiinoki Teahouse (Nuts), Koganeo's Death, Sushi Shop

In Shimoichi Village, Yamatoji, the court lady and her companions are extorted by the ruffian Gonta, nicknamed "Igami," and Koganeo is killed in battle by pursuers. Gonta's father, Yazaemon of the Tsurube Sushi restaurant, had been hiding Yorimori as his servant Yasuke, but was ordered by Kajiwara Kagetoki to hand him over. He tries to use Koganeo's head, which he happens to have in hand, as a substitute for Yorimori. Gonta's younger sister, Orito, was in love with Yasuke, but when the court lady and her child visit, she learns his true identity and gives up on her love. Gonta hands over Yorimori's head, the concubine, and the young lord to Kajiwara, and is stabbed by an angry Yazaemon, but he has actually had a change of heart and dies after confessing that he has used Koganeo's head and his own wife and child as a substitute.

[Toshiaki Matsui]

4th Dan - Michiyuki Hatsune Journey/Kawarenkan

After that, Yoshitsune stayed at the home of Kawatsuraya Hogen in Yoshino, and Shizuka Gozen, hearing of this, hurries to Yoshino with Tadanobu. However, when the two arrive at Kawatsuraya, another Tadanobu has already arrived. Shizuka investigates Tadanobu, who has accompanied her, and finds out that he is the incarnation of a baby fox who yearns for its mother, whose skin was used for Hatsune's drum. Yoshitsune takes pity on the fox's filial piety and gives the fox the name Genkuro and a drum. In gratitude, Genkuro the fox uses his powers to toy with the evil monks who attacked at night, and reveals that the true identity of the evil monk's leader, Yokokawa's Kakuhan, is Noto no Kami Noritsune.

[Toshiaki Matsui]

5th dan - Mount Yoshino

Noritsune cuts down the root of all evil, the Imperial Court, and is killed by Tadanobu.

Of the three masterpieces, this is the most poetic work, weaving together the pathos of the fallen and the perished with the love of family of the fox incarnate. The second act, from "Tokai-ya" to "Omotsu-ura," is also known as "Ikari Tomomori," and is a profound and magnificent tragedy of Tomomori, who lived, reversing the legend of the Noh play "Funa-Benkei." The third act, from "Shiinoki" to "Sushi-ya," depicts Igami Gonta's act of sacrifice in a highly realistic domestic theater production. The role of the fox Tadanobu is the protagonist of the entire work, and in particular in Kabuki, the play offers a variety of performances, such as the rough action in "Torii-mae," the dance in "Michiyuki" (often performed in Kiyomoto style today), and the fantastical Gidayu-style in "Kawa-tsura-kan."

[Toshiaki Matsui]

"Japanese Classical Literature Series 99 Bunraku Joruri Collection" (1965, Iwanami Shoten) edited by Yoshio Yuda" "Modern Japanese Translation of Japanese Classics 18 Yoshitsune Senbonzakura" (1980, Gakken) translated by Genzo Murakami"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

浄瑠璃義太夫(じょうるりぎだゆう)節。時代物。5段。2世竹田出雲(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。1747年（延享4）11月、大坂・竹本座初演。通称「千本桜」。源義経失脚のとき、平家の武将新中納言知盛(しんちゅうなごんとももり)、三位中将維盛(さんみのちゅうじょうこれもり)、能登守教経(のとのかみのりつね)の3人が実は生きていて再挙を図る話に、吉野地方の伝説を結び付けて脚色。『菅原伝授手習鑑(すがわらでんじゅてならいかがみ)』『仮名手本忠臣蔵(かなでほんちゅうしんぐら)』とともに浄瑠璃の三大傑作とされ、初演の翌年には歌舞伎(かぶき)に移され、人形浄瑠璃と歌舞伎の両方で代表的な人気演目になった。

［松井俊諭］

初段―大内・北嵯峨庵室・堀河御所（川越上使）

平家滅亡後、義経は、左大臣藤原朝方(ともかた)から勅諚(ちょくじょう)の名で、兄頼朝(よりとも)を討てとの謎(なぞ)を込めた初音(はつね)の鼓を授かり、一方頼朝からは、知盛・維盛・教経の3人を討てなかったことと、平時忠(ときただ)の娘卿(きょう)の君(きみ)を妻としていることについて疑いをかけられる。頼朝の上使川越太郎へは、卿の君の自害により申し開きがたつが、家臣弁慶が鎌倉勢と衝突したため、やむなく都を落ちる。一方、維盛の御台若葉内侍(みだいわかばのないじ)と子の六代君(ろくだいぎみ)は北嵯峨に身を潜めていたが、大和(やまと)にいるという噂(うわさ)の維盛を尋ね、忠臣主馬小金吾(しゅめのこきんご)を供に旅立つ。

［松井俊諭］

二段―伏見稲荷鳥居前・渡海屋・大物浦

義経は伏見で、駆けつけた佐藤忠信(ただのぶ)に愛妾(あいしょう)静御前(しずかごぜん)と初音の鼓を預け、九州路へ向かう。一行は大物浦で渡海屋銀平に船を調達させるが、この銀平こそ実は幼い安徳(あんとく)帝を典侍局(すけのつぼね)とともに守護していた知盛だった。知盛は好機到来と船幽霊の姿で義経を襲うが、敗れて深傷(ふかで)を負い、幼帝を義経に託し、碇(いかり)を背負って入水(じゅすい)する。

［松井俊諭］

三段―椎の木茶屋（木の実）・小金吾討死・鮓屋

内侍一行は大和路の下市村で「いがみ」と異名をとる無頼漢の権太に金をゆすり取られ、そのあと追手のため小金吾は討ち死にする。権太の父、釣瓶(つるべ)鮓屋の弥左衛門は維盛を下男弥助としてかくまっていたが、梶原景時(かじわらかげとき)から維盛引き渡しを命ぜられ、たまたま手に入れた小金吾の首を身替りにたてようとする。権太の妹お里は弥助を恋していたが、内侍母子の来訪によって素性を知り、恋をあきらめる。権太は維盛の首と御台、若君を梶原に引き渡し、怒った弥左衛門に刺されるが、実はすでに改心していて、小金吾の首と自分の妻子を身替りにしたと打ち明けて死ぬ。

［松井俊諭］

四段―道行初音旅・川連館

その後、義経は吉野の川連法眼(ほうげん)のもとに寓居(ぐうきょ)、これを知った静御前は忠信を供に吉野へ急ぐ。しかし、2人が川連館へ着くと、もう一人の忠信が先にきている。静が供をしてきた忠信を詮議(せんぎ)すると、初音の鼓の皮に使われた親狐(ぎつね)を慕う子狐の化身だった。義経はその孝心を哀れみ、狐に源九郎の名と鼓を与え、感謝した源九郎狐は、夜討の悪僧どもを通力で翻弄(ほんろう)し、悪僧の頭目横川(よかわ)の覚範(かくはん)の正体を能登守教経と見あらわす。

［松井俊諭］

五段―吉野山

教経は諸悪の根元朝方を斬(き)り、忠信に討たれる。

　落ちゆく者、滅びる者の哀れさに狐の化身の骨肉愛も絡ませ、前記三大傑作のなかでももっとも詩情に富んだ作品。二段目「渡海屋」から「大物浦」にかけては「碇知盛」ともよばれ、謡曲『船弁慶』の伝説を裏返し、生きていた知盛の重厚壮大な悲劇。三段目「椎の木」から「鮓屋」は、いがみの権太の犠牲行為を、写実味の濃い世話場の演出で描く。全編の主人公ともいえるのが狐忠信の役で、とくに歌舞伎では「鳥居前」の荒事(あらごと)、「道行」（今日では清元(きよもと)地のものが多い）の舞踊、「川連館」の幻想味豊かな義太夫劇スタイルなど、変化に富んだ演出が楽しめる。

［松井俊諭］

『祐田善雄校注『日本古典文学大系99　文楽浄瑠璃集』（1965・岩波書店）』▽『村上元三訳『現代語訳　日本の古典18　義経千本桜』（1980・学習研究社）』

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