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Naishi then arrives at that same house, seeking lodging for the night. Koremori glances outside, realizes who they are, and welcomes them in. He attempts to explain his infidelity to his wife, his romance with Osato coming from a desire to repay
Yazaemon for taking him in; Osato overhears, and bursts into sobs. She welcomes Rokudai and Naishi into her home, offering them the seats of honor, and explains her side of the story, asking for forgiveness from Naishi. She fell in love with this gentle man, she explains, whom her father brought home, not knowing that he was secretly a noble. Upset at Koremori's duplicity and at his leaving her, she weeps and is comforted by Naishi.
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head in it, but is stopped by his wife, who is thinking of the money she stole from him to give to Gonta. A shout is heard from outside, as Gonta returns with a woman and child, tied up and being dragged behind him. He explains to the soldiers that he has captured
Rokudai and Naishi, and shows them the tub containing Kokingo's head, claiming it to be Koremori's. Kajiwara offers to spare Yazaemon's life in exchange for this deed, but Gonta, hoping to gain from this himself, declares that he wants monetary compensation; Kajiwara therefore gives him his cloak, which previously belonged to Yoritomo, and which would be symbolic of the reward owed him by the government.
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intended to give the silver to
Koremori for traveling expenses. Knowing that his father intended to play off Kokingo's head as Koremori's, and knowing that the head was no longer in the house, he returned in order to rescue his father's plan, and his family therefore. He then reveals that the woman and child turned over were not Naishi and Rokudai but his own wife and child, Kosen and Zenta, who willingly and voluntarily sacrificed themselves to save the nobles.
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promised to their other guests, and a small scuffle occurs between the two as the warrior accuses the woman of harboring Taira fugitives and seeks to enter the room where
Yoshitsune and his retainers remain. Just then, the merchant Ginpei makes his first entrance, carrying an anchor over his shoulder, a strong symbolic reference to his true identity as the fugitive general Taira no Tomomori. He argues briefly with Sagami, and throws the warrior out of his house.
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the capital asking them to hunt him down. The monks discuss, and even those normally hostile to
Yoshitsune decide that as monks it is their duty to aid people in need. Hōgen, however, even after admitting that he thinks Yoshitsune blameless, fires an arrow at a distant peak, smaller than its neighboring peak, and thus representing the younger brother (Yoshitsune). Thus he declares his stance alongside the shogunate, for the safety of the temple.
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Tomomori's death. Tsubone takes the
Emperor to the seashore, and prepares to have them both drown, sacrificing themselves. But they are pulled back by Yoshitsune as he returns to the shore, and assured of their safety; he has no intentions of capturing or killing the Emperor of Japan. Tomomori, not killed, returns just a few moments after Yoshitsune, and is appalled that his schemes have fallen apart so quickly and easily.
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Tadanobu has arrived and wishes to speak with him. Tadanobu is asked by his lord about his stewardship of
Shizuka and replies, confused, that he has been in his home province with his ailing mother since the end of the war, and has not seen Shizuka. Two of Yoshitsune's other retainers appear, pointing swords at Tadanobu and demanding an explanation when the temple's gatekeeper announces that Satō Tadanobu has arrived with
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about him, and to continue on to see
Koremori. He promises to follow them after he regains his strength. The pair leave him then, and exit, continuing on their journey. The warrior then dies, just as a group of townsmen, including the sushi shop owner Yazaemon, come upon him. After saying a prayer for the dead, Yazaemon cuts off Kokingo's head and takes it with him, returning home.
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general, in disguise. Noritsune and
Yoshitsune clash swords several times before Emperor Antoku appears from the next room. Noritsune, of course, bows low to his Emperor, and both explain how they survived their supposed deaths at the battle of Yashima, and came to be at this monastery. Noritsune then begins weeping, announcing his failure to his clan and to his Emperor.
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She then notices that this
Tadanobu is wearing somewhat different clothing, and comes upon the idea of beating the Hatsune Drum to summon her escort. She explains that the drum always attracted her escort, and made him behave strangely. The scene ends as she bangs the drum, and Tadanobu is taken away by Yoshitsune's retainers.
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get nuts from the tree, and then leaves, taking Kokingo's travelling pack instead of his own. Kokingo notices a few moments later, and Gonta returns, apologizing for his mistake. The two go through the contents of the baskets, to make sure the other hasn't stolen anything, but Gonta then claims that there's twenty
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Hōgen and two of Yoshitsune's retainers come in with bloody blades and holding the severed heads of the other monks who followed Noritsune. They seek to fight, but their hearts are calmed by the fox's magic, and Noritsune announces that he shall once again become Yokawa no Kakuhan, a loyal servant to
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Act Three opens as Wakaba no Naishi, her retainer Kokingo and son Rokudai pause at a tea shop along their journey to find her husband, Taira no Koremori. They sit down to rest, and a young man in traveling clothes, by the name of Gonta, joins them soon afterwards. He talks to them briefly, helps them
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Tomomori declares to the audience the story of faking his own death at Dan-no-ura and escaping with the young Emperor Antoku and his wet nurse Tsubone, living for the last several years as Ginpei, his daughter Oyasu and wife Oryū. He explains to Tsubone that he intends to kill Yoshitsune while out at
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Koremori, Naishi, and Rokudai then return, alive and safe, disguised as tea merchants. Koremori finds a poem on Yoritomo's cloak which indicates that something is inside it; cutting it open, he finds a Buddhist monk's robe. Seemingly, Kajiwara intended all along to spare Koremori, and granted him in
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Ginpei is then introduced to his guests, who were taken in by Oryū while he was out, and immediately recognizes Yoshitsune. Introducing himself briefly, and expounding on his identity as a boatman and merchant, he then suggests that they set sail, despite the weather. As Yoshitsune and his retainers
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The final scene thus begins with Shizuka beating the drum, and a fox rushes into the room, becoming Tadanobu, who bows before her. Shizuka then suddenly pulls a sword and slashes at Tadanobu, who dodges the attack. Mesmerized by the drum, Tadanobu still manages to avoid continued attacks as Shizuka
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Hōgen returns to his mansion, where he is indeed harboring Yoshitsune, and declares to his wife that he has turned against his guest, and intends to stand with the shogunate. Yoshitsune speaks briefly with Hōgen, thanking him for his hospitality and aid, and is then informed that his retainer, Satō
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As she travels through the countryside, Shizuka decides to play the Hatsune Drum, in order to entice birds to follow her, not knowing the magical or metaphorical significance of the drum. As soon as she does so, a white fox emerges, romps across the stage and then disappears behind a low hill, from
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Soldiers then appear, along with Kajiwara, and surround Yazaemon. They accuse him of lying to them, and harboring Koremori; but thinking quickly, he tells them that he's already had a change of heart and killed Koremori himself. He brings the men inside, and reaches for the sushi tub with Kokingo's
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Yazaemon's sushi shop is the setting for the third scene, which opens with his daughter Osato and his wife preparing and selling sushi to visitors while they talk. A young man named Yasuke has been living with them for some time, and is due to be married to Osato as soon as Yazaemon returns. Yasuke
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Shortly after Benkei leaves, Sagami Gorō, a retainer of the shogunate, sent here to seek out and attack Yoshitsune, arrives. Not knowing that Yoshitsune is in that very home, Sagami demands of Oryū that he be provided a boat in order to pursue his quarry. She replies that their only boat is already
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The real Tadanobu then offers to take his lord's place in facing the doom that awaits him at the hands of the monks. The kitsune's magic hampers the monk's schemes, and Kakuhan, the one monk who most strongly opposed the samurai lord, is revealed to be Taira no Noritsune, the third surviving Taira
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Shizuka is reunited with her lord, but the Tadanobu who had been escorting her seems to vanish. The first Tadanobu explains to Shizuka that he has not been escorting her and has not seen her in some time; the other retainers confirm that this second Tadanobu is nowhere to be found in the building.
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Hōgen encourages his monks to do what they think is right: to welcome Yoshitsune in and grant him asylum if he should arrive and request it. But he also assures them that he intends to kill the warrior should they do so. The monks interpret their master's words to mean that he is already harboring
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After a very brief scene showing the pair's arrival, attention is shifted to Kawatsura Hōgen, head of the temple, who discusses with his fellow monks what stance they should take towards Yoshitsune. Several of the monks here are known to be enemies of Yoshitsune, and a letter has just arrived from
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The second scene takes place at the Tokaiya, a home near Daimotsu Bay where the commoner merchant Ginpei runs a shipping business, living with his wife Oryū and daughter Oyasu. Yoshitsune's party has made their lodgings here while they wait for good weather to continue their journey by boat. While
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A number of warriors come at him, and he cuts them down. Noritsune then appears, as the monk Kakuhan, who claims to have foregone all his old grudges, and his warrior ways. Tadanobu declares his true identity to his foe, and the two clash in a complex choreographed fight scene. Finally, Noritsune
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Word comes of the arrival of shogunal officers, and Koremori, his wife and child exit. Gonta arrives, then, declaring to Osato that he intends to turn over the three to the authorities in exchange for a reward. His sister begs him not to, and he grabs the sushi tub with the silver coins and flees
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As Osato and Yasuke (Koremori) lie on their wedding bed, preparing to consummate their relationship, he confesses to her not his true identity, but that he has a wife and child in another province, and asks that she release him from his pledge to marry her. By coincidence, the wandering Wakaba no
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The next scene focuses on Kokingo, Rokudai and Naishi, pursued by Imperial officers. Already wounded, Kokingo fights off one of the officers, Inokuma Dainoshin, and then sinks to the ground, exhausted. As Naishi weeps over him, he claims he cannot go on, and implores Naishi and her son to forget
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Gonta, attempting to swindle the samurai, accuses him of being a thief, and a battle very nearly breaks out. Though aggressive with words, he is no match for the samurai in a fight, and hides behind a bench while Kokingo only grows more angry and brandishes his sword. Naishi attempts to calm him
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coins in a sushi tub for him and sends him off. Just then, Yazaemon returns; fearing that he should learn that his wife stole from the shop to give to Gonta, they hide the sushi tub among the others. Yazaemon then comes in, calls out for his family, and hides the head of Kokingo, wrapped in his
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As Kajiwara leads the prisoners away, Yazaemon finds the opportunity to viciously stab his son, bitter at Gonta's betrayal. Yazaemon curses his son as he aggravates the wound, but as he dies, Gonta explains to his father that his deceptions were for good intentions all along. He claims that he
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Gonta is thus left alone with Kosen, the proprietess of the teahouse, who it turns out is his wife. She scolds him for being a swindler and a gambler; in his response, he explains his life story. The son of Yazaemon of the Tsurube sushi shop, he became a swindler, thief and gambler in order to
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The battle is not seen on stage, but reflected through narration, the reactions of Tsubone, as she watches from the shore, and the report of Sagami Gorō, the shogunal officer who is revealed to have actually been in Tomomori's service. After some time, the clash is perceived to have ended with
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Kawagoe, an agent of the shogunate, then appears, along with Fujiwara no Tomokata, who he has tied up. He reveals that the Imperial order which came with the drum, ordering Yoshitsune to oppose his brother, along with that to exterminate the Taira clan, came not from the Emperor, but from the
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Placing the drum atop Yoshitsune's armor, granted Tadanobu in the second act, the two dance, their gestures and motions mimicking the actions of the narration. The narration indicates their desire to follow Yoshitsune to Yoshino, and then drifts into a retelling of the events of the battle of
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and his closest retainers. She expresses her apologies on behalf of Benkei, who made some uncouth and inappropriate remarks to the Imperial agents at the presentation of the drum. Though Benkei is portrayed as cool, collected, eloquent, and quite clever in other plays, in this one he is loud,
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As is quite standard for Japanese traditional dramas, the final act is short, swift, and serves to wrap up any major loose plot threads. Here, it opens on a mountaintop, with Tadanobu, dressed as Yoshitsune, calling out a challenge to those who side with Yoritomo and the shogunate.
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pins his opponent to the ground, but a second Tadanobu rushes in and stabs the Taira general, the body below him disappearing and leaving only a suit of armor. Yoshitsune explains that they saw through Noritsune's promises of peace, and the fox Genkurō aided them in subduing him.
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consists of fifteen scenes in five acts. Though this was originally intended to be performed across the better part of a day, modes of performance have changed, and the full version would today take twice that long, due to the style and speed of current forms of acting.
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machinations of Tomokata. Hearing this, Noritsune kills the defenseless Tomokata, and then turns to Yoshitsune, challenging his foe to kill him. Yoshitsune states that Noritsune died long ago, that he has since become Kakuhan, and that it is to Tadanobu to kill him.
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prevents him from gaining respect or status among the kitsune, and so for centuries he has sought out this drum. He was unable to get at the drum when it was kept in the imperial palace, he explains, since the palace is guarded against spirits by many gods
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in search of three Taira generals who escaped justice at the end of the war, and who he believes may pose a threat to the shogunate. This aspect of the plot is the primary departure from both history and from the epic. In reality, the three generals
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obnoxious, and violent, leaping to action without thinking. A guard enters and informs the group of an impending attack upon the mansion by forces belonging to Yoritomo, and Benkei immediately leaps to face them, but is held back by Shizuka.
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Tsubone kills herself, seeing that she cannot serve Tomomori any longer, and the general, recognizing the futility of his schemes, his failure to slay his enemies, and the doom wrought upon his entire clan by the evil actions of his father
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follows the traditional five-act structure and the themes traditionally associated with particular acts. Act One begins calmly and auspiciously, including scenes at the Imperial Palace. Act Two features combat. Act Three is something of a
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The act ends with Gonta's death, one of the most famous examples in Japanese traditional drama of the interference of the affairs of nobles and samurai into the lives of common people, and the death and destruction it brings.
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Gonta explains to his mother that he is leaving for good, to turn himself around and make something of his life, but asks for some money, claiming that he was robbed on the road on his way there. She places several silver
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Shizuka and Yoshitsune speak to the fox for a time, and decide to grant him the drum. Thus released, he exits in grand style. Originally this would have been done through a particular style of dance called
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transforms Tadanobu into his kitsune form, who explains that though he has lived a very long time and gained magical powers, he has been unable to ever care for his parents. Failing to fulfill acts of
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dance scene, which follows Shizuka as she seeks to catch up with Yoshitsune and his party. The journey is narrated by an offstage narrator, in the bunraku style, and there is very little dialogue.
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The following scene introduces Wakaba no Naishi, wife of Taira no Koremori, and her young son Rokudai. The pair are explained to be in hiding in a monastic hermitage near the town of
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Meeting up with Yasuke, Yazaemon then reveals to the audience Yasuke's identity as the general Taira no Koremori, father of Rokudai and husband of Naishi, who he came across in
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talking to Oryū, Benkei steps over the sleeping Oyasu as he makes his way from the room; just at that moment, accompanied by dramatic drumming, he feels a pain in his leg.
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Yoshitsune discusses with Kawagoe Tarō Shigeyori, advisor to his brother Yoritomo, the circumstances surrounding the falling-out which has occurred between him and the
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may be performed alone as part of a day's program of other such bits and pieces. The first, second, and fourth scenes of Act One are the most rarely performed today.
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409:(Suruga Jirō, Kamei Rokurō, Kataoka Hachirō, Ise Saburō) – four of Yoshitsune's retainers, generally considered together in drama, in literature and history.
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enters with some sushi tubs, and talks briefly with the two women as they work, before they are interrupted by the arrival of Gonta, Osato's brother.
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sea, the rain and dark of night obscuring the battle. He heads out to the boat, as Tsubone and the Emperor change clothes, removing their disguises.
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Actors Ichikawa Danjûrô VIII as Minamoto Yoshitsune (R), Bandô Shûka I as Shizuka Gozen (C), and Ichikawa Kodanji IV as Fox (Kitsune) Tadanobu (L)
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takes place a few years after the end of the Genpei War. Minamoto no Yoshitsune, the famous general, is being pursued by agents of his brother,
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journey, metaphorically associated with a journey through hell. Act Five wraps up the plot quickly and returns to themes of auspiciousness.
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Yoshitsune, and that he intended to throw them off and prevent their interference; they decide to find and attack the warrior that night.
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The fundamental structure of the play is very much in keeping with that of Japanese traditional drama forms as a whole. The philosophy of
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The play thus ends with the last of Yoshitsune's foes slain, and a return to the peace and auspiciousness with which the play began.
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support himself and his love for Kosen. Disowned and kicked out of his house, he struggled to earn money to buy Kosen out of
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consists of nine of the full fifteen scenes. However, again as is the case with most plays, individual scenes or elements of
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A scene (act 4) from the kabuki play 'Yoshitsune senbon zakura' performed at the Kawarasaki theatre in the autumn of 1847.
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Scene three takes place at Yoshitsune's mansion in the capital, where his mistress, Shizuka dances for Yoshitsune's wife
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This monologue, his costume, and the events of the remainder of the act pay homage to, and draw faithfully from, the
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tale, turning away from the affairs of warriors and politics to focus on the lives of commoners. Act Four is a
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and his nursemaid who feature in the play, all perished in the war, most of them sacrificing themselves in the
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were two of the actors in this performance, playing Ginpei and Tadanobu/Genkurō respectively. The premiere in
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The act ends with Benkei's realization that Yoshitsune and Shizuka have fled. He presumes they have gone to
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who often plays the fox Genkurō to exit by flying out over the audience, in a technique known as
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painting. Tomomori attacks Yoshitsune and his party, but he is injured when he fights back.
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Dan-no-ura, ending with the pair's arrival at a Buddhist temple, the Zaō Hall in Yoshino.
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which marked the end of the Genpei War, and in which many of the Taira leaders perished.
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in which he dramatically reveals himself to the audience as the Taira general Tomomori.
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The play opens at the Imperial Palace, where Yoshitsune and his faithful retainer, the
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Adapted to kabuki, the play was premièred in that mode in January 1748, in the city of
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is employed throughout, as actions, scenes, acts, and the play as a whole begin slow (
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of samurai. The latter portions describe the eventual defeat of the Taira in the
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wears the white costume of a ghost, recalling the conventions of the other play.
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down, but Gonta only eggs him on until, finally, the samurai pays him twenty
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and took into his home. He explains to Koremori that he just came across
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The following plot summary is based on the full fifteen-scene version.
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is no exception. The fullest standard version of any play is called
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He then tells his story, revealing in the process that he is a
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this indirect way a disguise with which to safely escape.
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A major and famous battle, conflated here with the later
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puppet theater by Takeda Izumo II, Miyoshi Shōraku and
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449:Ozato – Yazaemon's daughter, Yasuke's betrothed
419:Oyasu – Ginpei & Oryū's daughter, actually
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971:Jones, Stanleigh H. Jr. (trans.) (1993).
557:Tomokata also presents Yoshitsune with a
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973:Yoshitsune and the Thousand Cherry Trees
967:Yoshitsune Senbon Zakura at Kabuki21.com
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33:Yoshitsune and the Thousand Cherry Trees
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1013:Works about Minamoto no Yoshitsune
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614:Act two opens at the
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912:Battle of Dan-no-ura
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499:), and end quickly (
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397:who hides Yoshitsune
328:Battle of Dan-no-ura
293:Minamoto no Yoritomo
27:Japanese Kabuki play
514:insertion into the
305:and loyal retainer
242:Kataoka Nizaemon IV
889:The other two are
845:(riding the sky).
763:
612:
606:"Genji Unukiyo-e"
320:Taira no Noritsune
877:Explanatory notes
726:after the three.
716:Kajiwara Kagetoki
655:Taira no Kiyomori
608:Utagawa Kuniyoshi
552:Battle of Yashima
539:Benkei meet with
428:– Koremori's wife
316:Taira no Tomomori
312:Taira no Koremori
204:
203:
197:Various sites in
172:Original language
16:(Redirected from
1025:
1003:Edo-period works
954:
933:
927:
921:
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426:Wakaba no Naishi
266:Heike Monogatari
252:was held at the
246:Yamamoto Koheiji
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543:
533:
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414:Suke no Tsubone
391:Kawatsura Hōgen
336:
227:Namiki Senryū I
162:Place premiered
157:
131:November 1747,
73:
69:Namiki Senryū I
64:Miyoshi Shōraku
59:Takeda Izumo II
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34:
28:
23:
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827:kitsune roppo
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1008:Kabuki plays
975:. New York:
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814:filial piety
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211:(義経千本桜), or
207:
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185:
947:Funa Benkei
942:Funa Benkei
577:Kyō no Kimi
544: [
254:Nakamura-za
133:Takemoto-za
993:1747 plays
987:Categories
961:References
505:Yoshitsune
480:Yoshitsune
476:Yoshitsune
468:Yoshitsune
460:Yoshitsune
340:Yoshitsune
334:Characters
289:Yoshitsune
275:Genpei War
271:Taira clan
84:Yoshitsune
78:Characters
52:Written by
832:hanamichi
767:michiyuki
686:indenture
661:Act Three
521:michiyuki
516:jidaimono
503:). Also,
488:jo-ha-kyū
385:Noritsune
281:, led by
187:Jidaimono
109:Noritsune
857:Act Five
753:Act Four
511:sewamono
407:Shitennō
379:Koremori
373:Tomomori
176:Japanese
114:Tadanobu
104:Koremori
99:Tomomori
924:Genkurō
842:chūnori
806:kitsune
743:topknot
598:Act Two
592:Yoshino
531:Act One
432:Rokudai
395:Yoshino
366:kitsune
361:Genkurō
351:Shizuka
303:Shizuka
194:Setting
94:Shizuka
712:Kumano
623:shōgun
585:shōgun
345:Benkei
318:, and
307:Benkei
298:shōgun
223:jōruri
219:kabuki
152:kabuki
141:jōruri
118:others
89:Benkei
939:play
703:kanme
639:aside
548:]
236:, in
199:Japan
182:Genre
166:Japan
137:Osaka
35:義経千本桜
895:and
819:kami
570:Saga
559:drum
454:Plot
363:– a
244:and
937:Noh
678:ryō
669:ryō
501:kyu
250:Edo
234:Ise
148:Ise
989::
793:.
546:ja
497:ha
493:jo
330:.
314:,
240:.
135:,
979:.
817:(
357:)
154:)
150:(
143:)
139:(
20:)
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