Kabuki

by Zoë Kincaid

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.