If the final test of drama be character, then the claim of Chushingura to a first place among the plays of Japan is thoroughly justified.
First and foremost, there is Yuranosuke, the leader of the loyal Forty-seven. Both his entrance upon the harakiri scene to catch the dying request of his feudal lord, Enya Hangan, and his exit sternly resolved to avenge the death of his master, are things to remember, not only because they show the true dramatic situations born of a good dramatist, but also because the actor suggests so powerfully Yuranosuke’s emotions.
Hangan must carry out the severe decree in the presence of the officials who have announced the penalty for his offence committed within the Shogun’s palace. He hesitates, since he is anxious to see his chief retainer before he bids farewell to the world.
Yuranosuke, who has been sent for, hastening on his way from Hangan’s fief in the provinces, has not yet reached the Yedo mansion of his lord. The audience, feeling the suspense, watches the hanamichi. At the very last moment he comes along the narrow way above the heads of the playgoers without noise or clatter, dropping down on his knees humbly before he reaches the stage proper. Sorrow, anxiety, respect—all are mingled in his manner.
Not a moment too soon, he catches Hangan’s last words, and gives him the consolation he needs so sorely. Yuranosuke takes the dirk from the lifeless hand, pays the last marks of respect to the body, and places it within the palanquin to be carried to the temple for the burial service.
And what a situation it is for a good actor, as Yuranosuke with composure, yet regretfully, performs his duties in a mansion that is to know his master no longer! Grouped about are the retainers who have served the lord since childhood, and whose fathers and forefathers were employed in like capacity under the lord’s ancestors, suddenly made ronin, unattached samurai, set adrift, to wander about the land! Castle and lands confiscated, wives and children turned out-of-doors, men ready to unsheathe their swords in their lord’s defence, depending on him for their living and well-being, all to be scattered to the winds to lead poverty-stricken existences. Rough justice the men would have immediately, but the superior-minded Yuranosuke begs them to wait for a better opportunity.
The Harakiri Scene from Chushingura.
Left alone outside the red gate of his master’s yashiki, Yuranosuke suggests his future plan, as drawing forth the bloodstained dirk he gazes upon it, there being no doubt that he is prepared to sacrifice his life in the cause of righting the great wrong inflicted upon the house and all its dependents.
For contrast in character there is the self-controlled, well-bred Hangan, trying his best to behave himself as becomes his rank and station, and the unscrupulous old official Moronao, hardened in the school of intrigue. If only Hangan’s men had taken the precaution to bribe the crafty Moronao as had the representative of Wakasanosuke, Hangan’s friend! But then there would have been no play. Unconscious that he is expected to stoop so low, Hangan keeps watch over himself, as Moronao by taunt and insult tries to make him take the offensive that is to cost him so dearly.