研究発表 浄瑠璃における「富士浅間物」の展開 ―『莠伶人吾妻雛形』・『粟島譜嫁入雛形』を中心に―

Abstract

This presentation, using an example of how Jôruri borrows from earlier works, examines the way in which the Noh “Fuji Takio” was rearranged an embelished as an Edo period drama.The wife of the performer Fuji, killed over and argument over dance by the performer Asama, pretends her late husband’s drum is her enemy and beats it to vent her rage in “Fuji Taiko”. This plot is transformed in to one of vengance (kataki uchi) in Edo drama.The so-called Fuji-Asama Mono include "Futaba Reijin Adzuma no Hinagata" (Kyoho 18, Toyotake-za) by Namiki Sôsuke and Namiki Jôsuke, "A washima Keizu Yomeiri Hinagata"( Kan\u27en 2, Takemoto-za) by Namiki Sôsuke, Takeda Izumo and Miyoshi Shôraku, and "Uchi Hyakuban Fuji Taiko"(Tenmei 3, Hizen-za) by Matsu Kanshi and Yoshida Kadomaru."Futaba Reijin Azuma no Hinagata" adds to the Fuji-Asama world the Gidayû "Yorobôshi"(Genroku 6), which recreates medieval stories from the Noh "Yorobôshi", the Sekkyô "Shintokumaru", etc. into a tale of rivalry. However," Futaba Reijin Azuma no Hinagata", and its rewritten version "A washima Keizu Yomeiri Hinagata", unlike the Gidayû "Yorobôshi" or even the Ukiyozôshi "Fuji Asama Susono no Sakura" by Ejima Kiseki, which had an influence on both works, are not presented as tales of rivalry. One feature of these two works is their portrayal of the tale of recovery from the story of Shintokumaru as a tale of fate. Sacrifice for the sake of recovery is painted as a necessity of fate, making the story into a pessimistic drama of destiny, a peculiarity of Namiki Sôsuke\u27s style.Also, in "Awashima Keizu Yomeiri Hinagata", it is revealed just before revenge is taken that Asama did not in fact kill Fuji. Not only is the technique used since Chikamatsu of transforming the traditional enemy character into one of good employed, but so is that of a secret being kept by the characters until the climax where it is revealed, a style often used by Sôsuke, both offering variants on the plot of seeking revenge.I would also like to consider the transformation of "Futaba Reijin Azuma no Hinagata" to "Awashima Keizu Yomeiri Hinagata" from the standpoints of za, tayû, etc.

Similar works

Full text

thumbnail-image

National Institute of Japanese Literature Repository / 国文学研究資料館学術情報リポジトリ

Provided a free PDF
oai:kokubunken.repo.nii.ac.jp:00002681Last time updated on 10/30/2019View original full text link

Having an issue?

Is data on this page outdated, violates copyrights or anything else? Report the problem now and we will take corresponding actions after reviewing your request.

We use cookies to improve our website.

Learn more