CHRONICLE OF THE BATTLE OF ICHINOTANI (ICHINOTANI FUTABA GUNKI, 1751)
Chronicle of the Battle of Ichinotani is a five-act history play written for the Toyotake puppet theater in Osaka. The first performance was in 1751 and was followed the next year by a kabuki version in both Osaka and Edo. The story concerns the twelfth-century struggle between the Genji (Minamoto) clan, which was led by Yoshitsune and Yoritomo, and the Heike (Taira) clan, which had close ties to the emperor. In the thirteenth-century military epic The Tale of the Heike, which is the original source of this story, Atsumori, a young Heike warrior, is slain by Kumagai, an older Genji warrior who wants to spare the young man’s life because Atsumori reminds him of his own son but is forced to slay him because his own troops are approaching. In the story’s reincarnation in the late medieval nō play Atsumori, the ghost of the slain Atsumori, who is the protagonist (shite), recalls and relives his struggle with Kumagai, who has become a priest, taking the Buddhist name Renshō. In the end, Kumagai, once Atsumori’s foe, becomes his spiritual ally and prays for his salvation. In Chronicle of the Battle of Ichinotani the story has been completely recast, adding, in the manner of Edo drama, love relationships with women and a complex web of hidden obligations and ties. Kumagai, the Genji warrior, has been ordered by his superior, the Genji general Yoshitsune, to kill Atsumori, a young Heike warrior and the son of the emperor by Lady Fuji. Kumagai is in a deep dilemma, for earlier both his life and that of his wife Sagami were saved by Atsumori’s mother, Lady Fuji, who pardoned them for a serious transgression, but he must do his duty to his lord and the cause for which he is fighting. To satisfy both his commander Yoshitsune and his conscience, he substitutes the head of his own son Kojirō for that of Atsumori, whom he has taken prisoner. As it turns out, Yoshitsune also has hidden obligations to the Heike, specifically to Yaheibyoe Munekiyo, who saved him and his brother Yoritomo as children and who appears in disguise here as Midaroku, an old woodcutter. In the end Yoshitsune pays back Munekiyo by returning Atsumori to the Heike.
Before the “Kumagai’s Battle Camp” scene, widely considered to be the most dramatic scene in Chronicle of the Battle of Ichinotani, Kumagai has already smuggled the real Atsumori off the battlefield and substituted his own son Kōjirō, whom he has disguised as Atsumori and decapitated. To carry the substitution (migawari) to its successful conclusion, however, Kumagai must deceive both his wife, Sagami, whom he wishes to console but cannot, and Lady Fuji, who thinks Kumagai has killed her son and wants to kill him for it. At the emotional climax of the scene, Yoshitsune inspects the severed head in a dramatic convention called kubi jikken (head viewing). The power of the drama derives in large part from the double roles that most of the main characters—Kumagai, Yoshitsune, Sagami, and Midaroku—must play simultaneously, resulting in considerable irony in the dialogue and in great tension between their outward behavior and inner feelings, appearance and fact. The tension and mixed emotions are intensified and complicated by the various obligations that the characters bear toward one another, particularly Kumagai toward Yoshitsune and Lady Fuji, Yoshitsune toward Midaroku, and Sagami toward Lady Fuji. The following is the kabuki version, which is very similar to the original jōruri text. It should be kept in mind that in the puppet theater, an evil character like Kajiwara is indicated by the puppet head, which cannot change, thereby making the distinction between good and evil characters absolute.
CHARACTERS
SAGAMI, Kumagai’s wife, formerly in the service of Lady Fuji
GUNJI, Kumagai’s family retainer
KOJIRŌ, the son of Sagami and Kumagai; the young warrior sacrificed to save Atsumori
LADY FUJI, a court lady, mother of Prince Atsumori, and consort of the emperor
ATSUMORI, a prince, the son of the emperor and Lady Fuji, who fought as a young Heike (Taira) warrior
KUMAGAI, Kumagai Jirō Naozane, a Genji (Minamoto) warrior in the service of Yoshitsune, father of Kōjirō, married to Sagami, and indebted to Lady Fuji
KAJIWARA, also known as Heiji Kagetaka, a retainer of Yoritomo, the Kamakura (Genji) shōgun; an evil man who threatens to reveal to Yoritomo Yoshitsune’s kindness to Munekiyo/Midaroku (now a Heike warrior)
YOSHITSUNE, a Genji (Minamoto) general, the shōgun (Yoritomo)’s younger brother, and Kumagai’s lord; saved by Yaheibyoe Munekiyo as a child
MIDAROKU, an old stonecutter in disguise, actually Yaheibyoe Munekiyo, a Heike (Taira) warrior who once saved the lives of the infant Yoshitsune and his brother Yoritomo
Act 3, scene 3: Kumagai’s Battle Camp
The scene is Kumagai’s battle camp in Ichinotani, at Suma. The main room, raised and with an open veranda fronting it, faces the audience. A cherry tree in full bloom grows to the right, next to an official notice board that reads, “Here stands a rare double-flowering cherry tree from the south. If anyone cuts off a branch, his punishment, following the ancient case of the Maple Tree, shall be to cut off one finger for each branch cut. Second Month, 1184.”
CHANTER (singing to shamisen accompaniment): Even the heavens turn. Some day will the moon shine over Suma Bay through clear skies? The Heike drift on waves off Yashima Island in the bay, while among the prospering Genji host, the peerless Kumagai, has established his camp in Ichinotani by Suma Bay, encompassing in its impenetrable palisade of felled trees a youthful tree in full bloom, known as Kumagai’s cherry tree. Passersby, of whom some can read and some cannot, crowd about staring at the notice board, which forbids the cutting of a single flower.
FIRST FARMER: That’s a fine cherry tree, isn’t it? Look at the blossoms.
SECOND FARMER: Not the tree, look at the notice. The priest Benkei wrote it, they say. But I can’t read one character.
THIRD FARMER: The tree is protected by General Yoshitsune. (Puzzled) “Cut off a branch of flowers, cut off a finger,” it seems to say.
FOURTH FARMER: That scares me. Instead of a flower, cut off a finger? Sounds like they want our heads.
FIRST FARMER (wide-eyed): Just standing here I feel like I’m stepping on a tiger’s tail!
SECOND FARMER: Quick as a wink . . .
THIRD FARMER: . . . before we break a branch . . .
ALL: . . . we had better leave! (They hurry off right to loud drum beats.)
CHANTER (singing to shamisen accompaniment): Having traveled a long distance, Kumagai’s wife, Sagami, approaches . . . (Sagami, wearing a gold brocaded kimono and covered with a black traveling robe, enters, accompanied by a retainer and bearer.) . . . immersed in thoughts of her son and her husband, she seeks out the palings of the battle camp and recognizes on the white curtains their family crest.
SAGAMI: We’re here at last. (To the retainer) You may go ahead.
RETAINER: Attention inside!
CHANTER (singing to shamisen accompaniment): Hearing the noisy call, Gunji comes out. (Gunji, the family retainer, enters, wearing a samurai’s two swords.)
GUNJI: Who approaches our master’s gate? (He is amazed to see Sagami.) My lady, what are you doing at the battle camp?
SAGAMI: Ah, Gunji. You are looking well.
GUNJI (bowing): Thank you, Madam. But first you must come in. Please enter.
SAGAMI: If I may . . . (The bearer helps Sagami remove her black traveling robe and replace it with another robe of gold brocaded silk.) You may rest now.
RETAINER AND BEARER: Yes, my lady. (Sagami climbs the short steps to the main room and sits in the place of honor to the left.)
SAGAMI: Tell me, are my husband and son well?
GUNJI: Both are well, my lady.
SAGAMI: Please tell my husband I am here, Gunji.
GUNJI (bowing): Master has gone to the temple today, and Kojirō has not recently been seen with our lord. Aren’t you tired from your long journey, my lady? Please lie down and rest. (Sagami nods assent and is about to rise.)
CHANTER (singing to shamisen accompaniment): As they are exchanging numerous greetings, Prince Atsumori’s mother, the court lady Fuji . . . (Alarm drums
and cymbals sound. Lady Fuji runs onto the hanamichi, dressed in black and a straw hat low over her face. She carries a small dagger in her hand, ready for use. She looks anxiously behind her.) . . . fleeing from the jaws of the tiger, hurries under falling blossoms toward the battle camp. (She runs under the cherry tree and leans against the gate. She poses as cherry blossoms fall.)
FUJI (calling through the gate): Pursuers are close behind. Please hide me!
GUNJI (startled, answers stiffly): This is a camp at war. You won’t find a safe place here.
SAGAMI (compassionately): Wait, Gunji. A woman understands a woman’s plight . . . (She goes to the gate. Opening it, she takes one quick look at Fuji before she hides her face.) Ahh! Isn’t it Lady Fuji?
FUJI (cautiously looking out): Your voice . . . is it Sagami? (They joyously recognize each other. Sagami kneels politely before Fuji, formerly her mistress at the imperial court.)
SAGAMI: Imagine meeting again unexpectedly . . .
FUJI: . . . after so long. You are well I hope . . .
SAGAMI: . . . and you? My!
FUJI: My!
TOGETHER: My, my!
SAGAMI: Please enter, my lady.
FUJI: Forgive me. If I may. (Sagami places her hands delicately before her and bows low. She gestures politely for Fuji to enter.)
CHANTER (singing): She is welcomed with an open heart. (Fuji loosens her robe, goes up the steps, and sits in the place of honor at the left. Sagami kneels opposite her. After closing the gate, Gunji kneels behind his mistress and bows low.)
GUNJI: Clap if I can be of service, my ladies.
CHANTER (singing): Gunji then rises and leaves. (The two women look fondly at each other. Sagami glances to each side to see that they are alone, then bows.) Sagami, at last, bows. . . .
SAGAMI (warmly): Truly, an age has passed like a dream since the time you lived in the palace, an intimate of the emperor, and I, infatuated with the warrior Satake Jirō, then on duty at the palace too, was forced to flee with him to the east. You could not know it, but it pleased me to hear that after you had conceived by his Majesty, you became engaged to Lord Tsunemori, chief minister of the Heike clan, and shared in the time of Heike power and prosperity. Then, when this war between Heike and Genji scattered the Heike clan, I was worried for your safety. How relieved I am to see your ladyship’s smiling face.
FUJI (smiling): Dearest Sagami, it is good to see you well. My, my. I heard you were carrying a child when you went away, and I do not even know if you gave birth to a girl or a boy. How is the child?
CHANTER (singing): Let two women meet even briefly and, happy in their tears, piled-up words tumble forth. Eyes glistening, Lady Fuji . . .
FUJI: Humans cannot escape adversity. The son I gave birth to and raised to become a handsome youth, dear Atsumori, has been slain in battle, while my husband, out at sea off Yashima Island, has left me alone to face I cannot imagine what future! Can you understand my despair?
CHANTER: As she laments plaintively . . . (The two women dab their eyes with their kimono sleeves.)
SAGAMI (bowing sympathetically): No wonder you are upset. I will consult with my husband. Out of consideration for the kindness you have shown us in the past, please entrust your welfare to us. While my husband was a member of the imperial Northern Guard he was called Satake Jirō; now his name is Kumagai Jirō Naozane. He is well known, the commander of all samurai forces in Musashi Province.
CHANTER (singing): Hearing this, Lady Fuji . . .
FUJI: The warrior you married as Satake Jirō is now Kumagai Jirō?
SAGAMI (modestly): He is.
FUJI: This Kumagai Jirō is . . . your husband? (Fuji rises on her knees wide-eyed then slowly sinks back.)
CHANTER: . . . calms her shocked heart.
FUJI (deceptively quiet): Do you remember, dear Sagami, when your adultery was discovered at the palace and the emperor sentenced you to prison? It was I who interceded and enabled you to escape with Satake Jirō through the great gate at night?
SAGAMI (warmly): How could I forget your kindness?
FUJI: If you have not forgotten, then you will return that favor by helping me slay an enemy.
SAGAMI: Kill someone? Who?
FUJI (looks at Sagami piercingly): Your husband. Kumagai. (Sagami recoils.)
SAGAMI: Ehh? You harbor such anger?
FUJI: I do! (She weeps.) The man who killed Prince Atsumori is . . . your husband, Kumagai! (Fuji falls forward weeping.)
SAGAMI: Can this be true?
FUJI: Haven’t you heard?
SAGAMI: I have just arrived after the long journey from the east. Now to hear your story . . . it is unbelievable! (Trying to mollify Fuji) Allow me to ask my husband when he returns if this is true.
CHANTER (singing): Struggling to speak through their tears . . .
SENTRY (off, at the rear of the hanamichi): Announcing Lord Kajiwara!
FUJI: Why should he come here?
SAGAMI (worried): He must not see you. Quickly . . . (They rise. Sagami directs Fuji toward the small room at the left.)
FUJI: When Kumagai returns . . .
SAGAMI: . . . I will find out the truth . . .
FUJI: . . . and if he is my son’s slayer . . .
SAGAMI: . . . even though he is my husband, he is your enemy.
FUJI (intensely): Kill him without fail.
SAGAMI (weak and close to tears): You may . . . trust me.
FUJI: Then, dear Sagami . . . !
SAGAMI: Lady Fuji . . . ! (Fuji goes into the small room at the left. Sagami closes the sliding doors and stands alone, upset.)
CHANTER (singing): Entering immediately, Kajiwara seats himself in the place of honor. (Drums play, indicating the entrance of an evil person. Kajiwara strides onto the hanamichi. He wears dark-colored battle dress: armor, leggings, straw sandals, and a samurai’s two swords. His face is dark and cruel. Without ceremony he enters the room and sits at the left.)
GUNJI (bowing politely): What can I do, my lord?
KAJIWARA (rudely): Call your master.
GUNJI: Master Kumagai Naozane went to offer prayers at the temple today. Be so kind as to entrust any message to me.
KAJIWARA: What? Kumagai’s left camp? Agh! (Shouting off) Hey! Soldier! Bring in the old stonecutter!
SOLDIERS (off, at the rear of the hanamichi): Yes, my lord!
CHANTER (singing): Saying yes, they drag before Kajiwara the innocent-looking stonecutter Midaroku. (Two soldiers bring Midaroku, bound with ropes, down the hanamichi and force him to the ground by the veranda. He is an old man and is wearing work clothes.)
KAJIWARA: Well, old man, who ordered you to make a monument for Atsumori? Since all the Heike have been driven into the western seas, a two-faced Genji samurai must be your benefactor. Confess it! I’ll torture you with boiling lead, slice you down the back, and rub salt in your wounds if you lie! Well, you old fool?
MIDAROKU (a bit ironically): Your accusation is absurd. I told you, Atsumori’s spirit requested the grave marker. He placed the order and vanished. I don’t care whether he had any interest in buying a monument to the Five Roads to Virtue, but it’s the principle of the thing, and he didn’t pay me a penny, principal or interest. At least I’d have borrowed his soul-fire as a night-light to work by if I’d known what he was up to. Should I send a bill to the devil? I can’t shake money from a ghost in hell, so, believe my story or not, the best one you’ll get this side of nirvana is that I did a favor for Atsumori’s ghost. Namu Amida Butsu, Namu Amida Butsu.
CHANTER (singing): His words are as slippery as eels.
GUNJI: You can see that talking to him is like pounding nails into rice paste. Please rest inside for a while, sir.
KAJIWARA (though furious, bides his time): It’s obvious who ordered you to carve the marker. When Kumagai returns, the three of us will have this out face to face! Take this fellow in! Gunji, lead the way!
CHANTER (singing): The old stonecutter is forcibly led away. Kajiwara is ushered in
to the inner room. . . . The sun is setting in the west when Sagami slides open the center doors to wait for her husband’s late return. (Sagami enters and crosses slowly to the center of the room.)
SENTRY (off, at the rear of the hanamichi): The master has returned!
CHANTER: Does Kumagai Jirō Naozane, slayer of Atsumori in the flower of youth, understand life’s impermanence? (Kumagai appears on the hanamichi. He wears a formal kimono of white silk, covered by trousers and a vest made of royal brocade. A temple bell tolls. Deep in thought, head sunk on his chest, he slowly approaches the camp. Sagami, seeing him, kneels and bows very low.) Although he is a fierce warrior, he is capable of compassion, and returning home, his heart is full. (He pauses and gazes at the Buddhist prayer beads grasped tightly in his hand. Slowly he crosses to the gate.) He looks at his wife, Sagami . . . (Angered that Sagami is there, he faces front, slaps his thigh, and strides up the steps into the room, where he immediately sits down.) with stern displeasure and goes to sit without speaking. (To distract his master, Gunji speaks immediately.)
GUNJI (bowing): Lord Kajiwara arrived a short time ago, wishing to discuss with you his investigation of the stonecutter Midaroku, whom he has brought with him. He is waiting in the inner room, Master.
CHANTER (singing): He spins out the details.
KUMAGAI: What is he investigating, I wonder? In any case, see that he is offered saké. (Still trying to protect his mistress, Gunji hesitates.) Serve him saké, I say. What are you waiting for? Go!
CHANTER (singing): Severely scolded, he has no choice. . . . (When Gunji rises to leave, Sagami pulls on his sleeve to hold him. Frightened, he politely frees himself and goes out to the center doors.) . . . Sagami pleads with her eyes, and even though Gunji leaves, his heart remains behind. Watching him go, Kumagai speaks . . .
Early Modern Japanese Literature: An Anthology, 1600–1900 Page 60