IV
In contrast to the realistic plays with their snow-storms and earthquakes, fighting bouts and harakiri scenes, there are the shosagoto, or music-posture dramas. Dr. Yuzo Tsubouchi once characterised these pieces as phantasmagoria. To the stage workers in the Occident, groping their way to find a new method to unite the independent arts of the theatre, this Kabuki form would come as a delightful surprise.
The shosagoto consists of a slight plot, simple dialogue, descriptive dances, symbolic movement, descriptions sung by a chorus,—welded together by the rhythm of drum, flute, and samisen. For the shosagoto the three different styles of stage music are used, Nagauta, Tokiwazu, and Kiyomoto, that originated in Yedo and are as typical of Yedo Kabuki as the Joruri, or balladry of the Doll-theatre, is of Osaka.
Both as to plot and music, the shosagoto owe their inspiration to the older music-drama of the Nō, and the best pieces are adaptations of Nō plays. A partiality for the weird is pronounced in shosagoto. No doubt the fantastic characters of the Nō had much to do with the cultivation of this taste in the people, and the craftsmen of Kabuki have become master-hands in the staging of such plays.
Matsumoto Koshiro, the seventh, as Benkei, the warrior-priest in Kanjincho He performed in this rôle when the Prince of Wales visited the Imperial Theatre.
Kanjincho, a scroll on which are written the names of those contributing to a fund for the erection or repair of a temple, is an acknowledged Kabuki masterpiece.
The play had its origin, far back in the past, in the classical Nō drama, but for 200 years has been produced on the popular stage. Preserving much of the Nō tradition as well as Buddhist atmosphere, it gives an impression of dignity, but even more of unity of plot and treatment, of speech and chorus, of posture and costume, centring in the motive of loyalty of man to master.
The setting represents the Nō convention—a wide-spreading pine tree painted on the background, bamboo decorated walls to right and left. Singers and samisen players of the Nagauta orchestra are clad in the terra-cotta ceremonial kimono of the Ichikawa actor family, to whom the piece belongs by inheritance. Below the red dais of the Nagauta, the Nō drum beaters sit on stools, the flute player and round-drum performer kneeling at the sides. The movement, straight forward to the climax and dénouement, is built upon the ever-complex and conflicting rhythms of drum and flute. The colour and design of the costumes lend a larger beauty to the harmony of their postures, gestures, and dances.
Benkei, a warrior priest, is the principal personage in the play, and he holds the centre of the stage for an hour. As the drama opens, the drums begin to beat, and voice and flute are added. Togashi, the keeper of the mountain barrier, makes his appearance from the left, where the black, green, and red curtain is held on high to let him enter, according to the Nō tradition. He makes an impressive entrance, accompanied by a page bearing a sword, and advances to the front of the stage, where he announces that he has heard there is trouble between Yoritomo, the lord of Kamakura, and military dictator of the country, and his brother Yoshitsune, and that the latter, with his attendants, has started from Mutsu in the disguise of a yamabushi, or mountain priest. He has received orders to prevent them from passing the barrier.
Yoshitsune presently appears on the hanamichi, a wide hat and a staff in his hand, with a Buddhist box upon his back to carry the sacred sutras, or other religious writings.
When the yamabushi with Yoshitsune are standing in a line in the midst of the audience, Benkei comes last, a striking figure in his brocaded skirt and black upper robe adorned with gold characters related to the doctrines of the yamabushi. He carries a rosary with vermilion tassels. He is the hero of many adventures, and has sworn faithfulness to his young lord, Yoshitsune.
Togashi, on guard, bars the way. Benkei declares that they are on a mission to collect funds to rebuild the temple of the great Buddha at Nara, but the ever-watchful Togashi announces that if the yamabushi are upon such a mission, they must have a subscription list, and he will listen while Benkei reads it.
Benkei must pass this test. Slowly he takes out of his box the Kanjincho, a scroll containing the names of donors to the temple fund, and pretends to read the contents. Togashi doubts him as he unwinds the scroll, and creeps up quietly to have a look. Benkei snatches it away and Togashi starts back. The dramatic value of the situation is greatly intensified by the exaggerated costumes of the two principal figures, whose postures bring storms of applause from the audience.
Then comes one of the most interesting moments of Kanjincho, the questions and answers. Togashi says that he does not doubt that they are genuine yamabushi, but still he would like to ask Benkei some questions, and he puts the warrior-priest through a cross-examination; why he dresses in such a warlike costume when his life is devoted to Buddha, why he wears a sword, being a priest of Buddha. Benkei has a quick answer for all the questions that Togashi hurls at him, and at length the party are permitted to proceed on their way, the keeper of the pass admiring Benkei’s faithfulness to his master.
Sawamura Sojuro, the seventh, of the Imperial Theatre, as Togashi, the keeper of the barrier, in Kanjincho, Kabuki’s music-drama masterpiece.
Benkei leaves by the hanamichi, the yamabushi follow, and Yoshitsune is left behind on the stage. One of Togashi’s men whispers in his ear. He thinks he has discovered Yoshitsune among the yamabushi. To throw him off the scent Togashi calls them back. The little company is proceeding quickly along the hanamichi when the abrupt order causes them to halt in dramatic attitude. To allay all suspicion, Benkei takes an unpardonable liberty and strikes Yoshitsune with his staff. After Togashi and his men have retired, Benkei seeks Yoshitsune’s forgiveness for his rash act, and weeps because of his offence, but Yoshitsune signifies his approval of Benkei’s strategy, which has saved their lives. The delighted retainer jumps back, bows his head to the stage, and then expresses in a dance the emotions he has gone through. Yoshitsune and the yamabushi pass out by way of the audience path to the beating of drums and light ripples of the samisen.
Left all alone, the faithful Benkei takes up once more the yamabushi box, slips it on his back, and starts by way of the hanamichi. The curtain is drawn, the attendant holding back one end as Benkei pauses before making his wonderful exit. He takes three jumps on one foot and then leaps forward, whirling his staff in air, and repeating this, clears the hanamichi in three great bounds, giving expression to his triumphant mood and the strength of his loyalty to his master, amid the thunder of big drums, the shrilling of the flute, and the steady metallic clapping of the hyoshigi, that announce the end of the piece.