土佐浄瑠璃の脚色法(二) : 「十二段草子」との関連において

In Tosa Joruri, we find the following three works related to Junidan-zoshi. They are 1) Genji-junidan, 2) Satsuki-junidan and 3) Kagetsu-junidan. In the present paper I tried to make observations on some characteristic points in the stage adaptation of Tosa Joruri in relation to the three works indicated above. I also tried to point out some roles Tosa Joruri played in the tradition of Junidan in Edo period. Junidan-zoshi had long been repeatedly performed since the origination of Joruri and liked by people up until Kinsei (the period between the Medieval Ages and the Modern Age in Japan). In Kinsei, Junidan-zoshi was gradually modified to suit the taste of the times. In Edo-Hizennojo-shohon of Genji-junidan, presumably written in Kanbun Period, the love story of Ushiwaka and Jorurihime is condensed and inserted. Tosanoshojo-shohon followed this idea with the additional attempts of stage adaptation to the last two dan (sections). That is to say, Benkei's Tengu-zoroe (his serial reference to various Tengu...... a long-nosed goblins...... who would be willing to come out of the mountains to help them) and another serial reference of Hidehira's to a number of warriors to attack Heike (Taira-family) were added. These additions are effective to the military atmosphere of the stage in correlation to the battle scene of the killing of Kumasaka Chohan before. The Junidan condensed and used in Tosanoshojo-shohon is considered to be the basic pattern of pachidan-bon (a short form of Junidan-zoshi), and can be regarded as a model of Junidan of Edo Period. In Satsuki-junidan, although the hero was Ushiwaka as before the way of staging was extensively modified, and the stage was provided with various scenes to show manners and customs of the times as well as ample impassioned music. This can be regarded as a modification of Junidan-zoshi. Kagetsu-junidan tells a story with characters irrelevant to Junidan-zoshi, but it still is called Junidan just because of the Junidan-type love story dealt with in this work. Strictly spe

aking the world of Junidan practically disappears here and therefore, it has only negative relationship to Junidan. We have seen above how Junidan continually survived and was applied in Tosa Joruri. This proves how strong and influential the tradition of Junidan in Edo Period was in the world of Joruri.