Yowajou Ukina no Yokogushi - A weak and timid story

Kabuki script. Domestic drama. Nine acts. Written by Segawa Joko 3rd. First performed in March 1853 (Kaei 6) at the Nakamuraza in Edo, starring Ichikawa Danjuro 8th as Yozaburo, Onoe Kikugoro 4th (then Baikou as Otomi), Ichikawa Kodanji 4th as Kannon Kyuuji, Seki Sanjuro 3rd as Akama Genzaemon and Izumiya Tazaemon, and Nakamura Nakazo 3rd (then Tsuruzou as Komoriyasu). Commonly known as "Kirare Yozaburo." Adapted from a story by Kenkonbo Ryosai, based on a true story by Nagauta performer Yoshimura Isaburo 4th. The key scene, "Genjidana," is a play on the phonetic name of an actual Edo place name, Genyadana (the name of an alleyway located in what is now Ningyocho 3-chome, Nihonbashi, Chuo Ward).

While recuperating in Kisarazu, Izuya Yozaburo and Otomi, the concubine of loan shark Akama Genzaemon, fall in love with each other and have a secret rendezvous, but when their affair is discovered, Akama slashes her to pieces, leaving her with 34 sword wounds all over her body. Otomi then jumps into the sea and is rescued by Izumiya Tazaemon. Three years later, Yozaburo, now a ruffian, goes to Genjidana to blackmail someone with his partner Kobuyasu, where he meets Otomi, who has now become a kept woman. Seeing Otomi looking happy, Yozaburo becomes angry and resentful, but when he finds out that Tazaemon is Otomi's brother, their relationship returns to normal through compassion.

The above is the outline of the story from the second act, "Kisarazu Mizome," to the fourth act, "Genji Store." From the fifth act to the ninth act, it is depicted that Yozaburo, who blackmailed Izumiya, is exiled to an island, leaves the island to visit his foster father at Izuya, meets Otomi for the third time, who has become the concubine of Kannon Hisatsugu, the leader of Osaki, and has a wound healed by the blood of his retainer Hisatsugu, who commits suicide.

The sadistic taste of cruelly inflicting wounds on Danjuro VIII, the most popular actor of the late Edo period, represents the decadent social climate. After the Taisho period, it became one of the most popular kyogen plays, performed by the famous trio of Yozaburo played by Ichimura Uzaemon XV, Ofomi played by Onoe Baiko VI, and Batan played by Onoe Matsusuke IV. In particular, "Genjiten," known for its famous line, "My love for you is my enemy," is often performed independently. "Misome" is also a sophisticated scene, and it is often used as the prologue, with "Akama Besso" added to bring out "Genjiten."

The popularity of this work gave rise to the "world of Kirara Yozaburo," and led to the creation of such works as Kawatake Mokuami's "Musume Gonomi Ukina Yokokushi" (Kirare Otomi) and "Tsuki no Enmasu no Igaguri" (Zangiri Otomi), Osanai Kaoru's "Yosaburo," and Oka Kitaro's "Fukeru Yosatsuki no Yokokushi."

[Toshiaki Matsui]

"Kabuki on Stage 22: Yowajo Ukina Yokogushi" edited by Michitaka Takeuchi (1985, Hakusuisha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)脚本。世話物。九幕。3世瀬川如皐(じょこう)作。1853年（嘉永6）3月、江戸・中村座で8世市川団十郎の与三郎、4世尾上(おのえ)菊五郎（当時梅幸(ばいこう)）のお富、4世市川小団次の観音久次(かんのんきゅうじ)、3世関(せき)三十郎の赤間(あかま)源左衛門と和泉屋(いずみや)多左衛門、3世中村仲蔵（当時鶴蔵）の蝙蝠安(こうもりやす)などにより初演。通称「切られ与三(よさ)」。長唄(ながうた)の4世芳村(よしむら)伊三郎の実話をもとにした乾坤坊良斎(けんこんぼうりょうさい)の講談を脚色。眼目の場面「源氏店(げんじだな)」は、実際の江戸の地名玄冶店(げんやだな)（現中央区日本橋人形町三丁目にあった横町名）の音をもじって字をあてたもの。

　伊豆屋与三郎は出養生の木更津(きさらづ)で、貸元赤間源左衛門の妾(めかけ)お富と互いに見染めて密会するが、露顕して赤間からなぶり切りにされ、全身に34か所の刀傷(かたなきず)を受け、投身したお富は和泉屋多左衛門に助けられる。3年後、ならず者になった与三郎は、相棒の蝙蝠安とゆすりに行った源氏店で、囲い者となったお富に会う。安楽そうなお富を見て、与三郎は怒り恨むが、多左衛門がお富の兄だとわかり、その情(なさけ)で二人の仲は元に戻る。

　以上が二幕目「木更津見染め」から四幕目「源氏店」までの粗筋(あらすじ)で、五幕目から九幕目にかけては、和泉屋でゆすりを働いた与三郎が島流しになり、島を抜けて伊豆屋の養父を訪ねたり、大崎の顔役観音久次の妾となったお富に三たび巡り会ったり、家来筋の久次の自害した血によって疵(きず)が治ることなどが描かれている。

　幕末随一の人気役者8世団十郎にむごたらしく疵をつける嗜虐(しぎゃく)趣味が退廃期の世相を表す。大正以降、15世市村羽左衛門(うざえもん)の与三郎、6世尾上梅幸のお富、4世尾上松助の蝙蝠安という名トリオによって屈指の人気狂言となり、とくに「しがねえ恋の情(なさけ)が仇(あだ)」の名台詞(めいせりふ)で知られる「源氏店」はしばしば独立して上演されるようになった。「見染め」も洗練された場面で、この場を序幕とし、「赤間別荘」をつけて「源氏店」まで出すという方法も多い。

　なお、この作の好評が「切られ与三の世界」を生み、河竹黙阿弥(もくあみ)の『処女翫(むすめごのみ)浮名横櫛』（切られお富）と『月宴升毬栗(つきのえんますのいがぐり)』（散切(ざんぎり)お富）、小山内薫(おさないかおる)の『与三郎』、岡鬼太郎の『深与三玉兎(ふけるよさつきの)横櫛』などがつくられている。

［松井俊諭］

『竹内道敬編著『歌舞伎オンステージ22　与話情浮名横櫛』（1985・白水社）』

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