Early Modern Japanese Literature: An Anthology, 1600–1900

by Shirane, Haruo, ed.

  IEMON: It’s my good masseur. How did it go? Did you run away with Oiwa? Did things go according to plan?

  TAKUETSU: Uh, uh. You ordered me to do that, but it just didn’t work.

  IEMON: Then she hasn’t gone away yet? What a useless old fool you are. I just came from the marriage ceremony at the Itō mansion. I was sure you would have taken her away by now. Tonight they are bringing over the new bride. If Oiwa is still in there, it will be a problem. This is awful!

  TAKUETSU: It was awful, awful. That rat was awful! (He shivers and exits.)

  IEMON (looking after him): That idiot went off just babbling about some rat without telling me what happened. Who can I use in his place as an excuse for chasing Oiwa out? Wait, I know. I’ll turn my servant Kohei into her lover and drive the two of them out. In any case, tonight Oume will be coming. (Reaches the front door) Oiwa, where are you? Oiwa, Oiwa. (Notices the crying baby on the floor and jumps in surprise)11 One more step and I would have crushed him. Oiwa, Oiwa! (Picks up the crying baby) Hey, Oiwa. (Sees her body) Oh, oh. This is Oiwa with Kohei’s rusty old sword in her throat. Did he kill her? But he was in the closet. (He puts the baby down, opens the closet, and pulls out Kohei.) He’s still tied up just as before, then he didn’t. . . . In any case, he’ll get the blame for killing Oiwa. (He unties Kohei.)

  KOHEI: Master, you’re a real monster.

  IEMON: What the hell are you talking about?

  KOHEI: You may have bound my hands and gagged me, but I know that hounding Oiwa to death in that miserable way was all your doing. Takuetsu told Oiwa everything about the plot between you and your neighbor Kihei. He told her about the poison that disfigured her. How could you drive out your wife at a time like this, all for your own advancement? Do you really think you can get ahead that way? You’re the lowest scum!

  IEMON: Shut up! Peasant! Oiwa was killed with your sword. You killed her. You killed your master’s wife. You killed her!

  KOHEI: That’s insane! I was tied and gagged. How could I?

  IEMON (shouting): But look! Your hands are moving now. You must have killed Oiwa! Murderer! (Iemon refuses to listen to Kohei. They continue to argue. Kohei suggests that he be given the medicine in return for being labeled a murderer. Iemon refuses.)

  IEMON: I have no choice. You’re Oiwa’s enemy, and I must avenge her death. You killed her, so you’re a murderer. Anyway, how could I let you live after you heard about our plot? Here, go on to the next world, with the help of my sword. (Strikes him. They struggle in a stylized, dancelike manner. Lively music plays as they fight, posing dramatically from time to time. Kohei defends himself desperately, throwing everything he can get his hands on, including umbrellas. Finally, wounded in several places, Kohei clings to Iemon.).

  KOHEI: I guess even during just one night’s employ, if one fights with one’s master—

  IEMON: Justice strikes you with your master’s sword. That’s why I’m killing you, slowly. You are Oiwa’s enemy! Die! (After a struggle, Kohei collapses to the sounds of a Buddhist wooden gong. Chōbei, Kanzō, and, later, Bansuke enter down the runway. After being told what has happened, they carry the bodies out the back door. Stately entrance music is played for a grand procession up the runway. Kihei, dressed in a formal coat and divided skirts, leads Oume by the hand. Behind them, Omaki is accompanied by two servants bearing silk bedding and a six-section folding screen. They arrive at the front door.)

  KIHEI (slightly tipsy from the wedding saké): Master Iemon, Master Iemon. It’s Kihei.

  IEMON: Well, well, good sir. You’re here already with Oume. Come in, come in.

  OUME: Oh please, wait. We have been married as you promised, but I feel funny moving right into your house so soon.

  KIHEI: Don’t worry. Iemon made a mistake by not having anyone to look after Oiwa, but fortunately, we’re all one family. Even if it does go a little against samurai practice to bring everything over before we’ve had a public ceremony, we brought the screen and the bedding anyway. Don’t worry.

  OMAKI: You are undoubtedly right, but remember how young the girl is. She hasn’t come of age yet.

  KIHEI: I say not to worry! (He pulls Oume into the house, and they all sit down). By the way, Iemon, is it true about Oiwa and you know who?

  IEMON: When I told you about it at the wedding, I had the wrong man. It was actually my servant Kohei who was having an affair with her. When the two were discovered, she ran off with her lover, leaving her baby behind. Oume, tonight, if my new father-in-law will allow it, I would like you to stay here.

  KIHEI: Ah, so she did have another man? Among samurai, that sort of thing just will not do. But as far as we are concerned, the timing was perfect. Congratulations!

  OMAKI: I’m sure you are right, but I’m surprised that she left the house when she was still so sick. Well, I guess that certainly is a marvel. But what are you going to do about the little boy?

  IEMON: That really is a problem.

  KIHEI: Well, for that very reason, I’ll stay here starting tonight and help you out. Early tomorrow morning, the nurse will come and help too. Omaki, spread out my bed.

  OMAKI: As you wish. (She spreads out the bedding at stage right and puts the large folding screen around it.) Master, I’ve prepared your bed over here.

  KIHEI: Then where will the young couple sleep?

  IEMON: Let’s use my old bed. It will serve that faithless old wife of mine right.

  KIHEI: Of course, what a fine idea. Here Oume, this is your good luck charm. Take care to keep it around your neck. (He hands her a red charm.)

  OUME: I’ll never let go of it. I’m scared of Oiwa.

  OMAKI: I know you are, but put her out of your head, at least while you are in your wedding bed.

  IEMON: Don’t worry about it. Who would dare to say anything against people as important as we are?

  OMAKI: No, no. Of course, no one could object. Now here you go. (Takes Oume by the hand and leads her to the bed in the room at stage left) Tonight your wishes will come true at last.

  OUME: I know you’re right, but when I remember that for my sake, poor Oiwa . . .

  OMAKI: Now hush or your wishes won’t come true. (She closes the sliding doors. The baby starts to cry.)

  IEMON: What a time for the kid to . . .

  KIHEI: Ah ha. I may not be able to give any milk, but tonight I’ll be the child’s wet nurse. I’ll keep him with me tonight. (He picks up the baby, cradles him, and retires to the bed at stage right.)

  IEMON: Father-in-law, thank you for everything.

  OMAKI: What shall I do?

  KIHEI: Go and tell my daughter that everything is all right here.

  OMAKI: As you wish. Well, my deepest congratulations.

  IEMON: Good night, nurse.

  OMAKI: Enjoy your wedding night. (To a lively song and the tolling of the temple bell, Omaki, preceded by the servants carrying the lanterns, exits. Kihei closes the screen around his bed. Iemon, left alone, is pleased with the turn of events.)

  IEMON: Now it’s off to the bridal bed with an innocent girl who’s never done anything. Well, let’s start her out right. (Eerie flute music plays, and the temple bell tolls. Iemon enters the room at left and slides open the doors so the interior is visible to the audience.) Oume, I’m sorry I’ve kept you waiting. Listen, my bride, there’s no reason to stare at the floor. Even if you feel bashful, come, lift up your face. Tonight is the night that all your dreams come true. Here, look happy. Look at me, smile, and say, “Now you’re my husband.” (He draws closer.)

  OUME: Yes, Iemon, you are my husband. (She lifts up her face. The red charm is around her neck, but the face is that of Oiwa. She glares with hatred at Iemon and cackles. Iemon picks up a sword from nearby, draws it, and strikes her, immediately closing the screen door behind him. The decapitated head of Oume falls to the floor. Rats come onstage and surround the head, accompanied by the sound of light doro-doro drum patterns.)

  IEMON (looks closely at the face): Oh no, no. That was really Oume,
I acted too quickly! (Still holding the sword, he runs over to the screen at right and pulls it aside. Inside, Kihei is sitting up, his face turned away from the audience. He is wearing a thick padded jacket and is holding the baby, his mouth stained from eating the baby. Iemon goes over to him.) Father-in law! Father-in law! Something terrible has happened. By mistake . . . (Kihei turns his head: it is Kohei who is eating the baby. Kohei glares at Iemon.)

  KOHEI: Master, give me the medicine.

  IEMON: Oh no! You’re Kohei! And now you’re killing the baby! (Iemon cuts off Kohei’s head. The blood-stained head of Kihei falls on the floor. A snake emerges from Kihei’s hips, crawling toward the head and coiling around it.12 Iemon looks closely.) That was really my father-in-law. I can’t stay in this cursed place! (He runs to the front door. With one hand, he grabs his collar as though pushing away some unseen force that is tugging him back. With the other hand, he reaches forward desperately in the direction he wants to go. This movement is punctuated by a doro-doro drum pattern. He pushes away whatever it is and starts running again, only to be stopped. The forward and backward movements alternate with increasing rapidity until Iemon is standing in one place, desperately trying to move. Finally, he is pulled back into the house, spins in a circle, and sits down hard in the middle of the floor. Green spirit flames float in the air in front of Iemon as he stiffens and shouts.) You spiteful spirits! (The clacking of the wooden clappers begins to mark the end of the act.) Hail Amida Buddha, Hail Amida Buddha, Hail Amida Buddha . . . (Two green spirit flames hover in the air. Iemon clasps his hands together, praying fervently as the curtain is pulled shut.)

  Iemon is caught between the vengeful spirits of Kohei (left) and Oiwa (right), both of whom are legless and wear white robes, a characteristic depiction of Japanese ghosts in the Edo period. The dead bodies of Kihei and Oume lie face down in pools of blood at Iemon’s feet.

  Act 3, Deadman’s Ditch

  MAIN CHARACTERS

  CHŌBEI (AKIYAMA), a rōnin, Iemon’s crony

  IEMON (TAMIYA), a masterless samurai, marries into Kihei’s family

  KIHEI (ITŌ), samurai in service of Kō no Moronao, grandfather of Oume, mistakenly killed by Iemon

  KOHEI, Iemon’s servant, killed by Iemon

  MAGOBEI, the father of Kohei

  NAOSUKE, a masterless samurai married to Osode, Oiwa’s sister; calls himself Gonbei, now an eel fisherman

  OIWA, Iemon’s wife, accidentally kills herself after being disfigured

  OKUMA, Iemon’s mother

  OMAKI, a nurse in the Kihei’s household

  OUME, Oyumi’s daughter and Kihei’s granddaughter, married to Iemon, mistakenly killed by Iemon

  OYUMI, Kihei’s widowed daughter and mother of Oume

  Onbōbori, or Deadman’s Ditch, a river near a temple crematorium in the Fukagawa district of Edo. The river flows in front of a steep grassy dike with a dry riverbed on the left and right sides. The scene opens to shamisen music called “Zen no tsutome,” which is used for scenes with a funereal, Buddhist atmosphere. A prayer bell is also striking. Oyumi, the widowed daughter of Kihei and the mother of the recently deceased Oume, and Omaki, the wet nurse of the Itō family, have been reduced to the status of beggars and are in ragged clothing, though retaining some air of their previous status. Omaki has a bag of rice around her neck. Even though her mistress is now a penniless beggar, Omaki continues to serve her faithfully. They are on the dry land in front of the dike to the left. A small tripod holds a pot over a fire. Oyumi is ill, and Omaki rubs her back to comfort her.

  OMAKI: Oyumi-sama, how are you feeling today?

  OYUMI: Please don’t worry about me. Today I feel much better. The only thing that worries me is that we still don’t know where Tamiya Iemon is. What could have made him kill my father and daughter? To return all our generosity with murder is inhuman. It’s an outrage, Omaki.

  OMAKI: You’re right. All because the Itō clan tried to welcome a worthless man as son-in-law, the family has been destroyed and the mansion repossessed by Lord Moronao. Even though we’ve been reduced to being outcasts, we’re searching for Iemon to avenge the destruction of our family. I am only one person, but I’m pleased to serve you faithfully. Oyumi-sama, please take heart and don’t despair.

  OYUMI: You haven’t forgotten the past and are so kind that for me you’re not a servant, you’re part of my family. (She takes out an amulet.) My daughter Oume kept this amulet next to her heart all the time. That she forgot the amulet when she went to Iemon’s house was perhaps a sign that she would die so horribly. The more I think about it, the more I’m determined that Iemon be punished properly for his evil acts.

  OMAKI: Please don’t dwell on it. Why don’t you pray for your father and daughter, and I’ll start boiling the rice for dinner. (The shamisen music continues and is joined by the pounding of a wooden gong. The steady pounding of a large drum suggests the flow of the river. Omaki scoops up water from the river and washes the rice and then puts it in the pot to boil. Meanwhile, Oyumi hangs the amulet bag from the tripod and prays fervently to it. Magobei, the father of the deceased Kohei, appears on the runway. He carries a sotoba, long, thin wooden plaque that was a kind of grave marker. He seems to be gazing at the river looking for something. He sees the two women.)

  MAGOBEI (to himself): There are some beggars who look like they come from much better circumstances. (Calls to them) Excuse me. Are you living here next to the river? By any chance have you seen a wooden door float by with the bodies of a man and a woman attached to it?

  OYUMI: I don’t believe that there have been any bodies like that, have there?

  OMAKI: No, there haven’t been. Why do you ask?

  MAGOBEI: Please listen to my story. My son Kohei served in a samurai mansion, but he ran away and disappeared. I heard today that a door with the bodies of a man and a woman was spotted floating in the river. I was afraid that might be my son. But if I go home and tell his wife and son, they would just start to grieve again. The only thing I could do was to go to the Reigan Temple and ask for funeral prayers to be said for my son and to have this funeral plaque made. If he is still alive, all is well, but if he is already dead, this plaque will help to ease his spirit.

  OYUMI (hearing Magobei’s story, Oyumi becomes emotional): How terribly sad. Everywhere it’s the same tragedy.

  OMAKI: Oyumi-sama, you’ve been praying to this amulet in memory of Kihei and Oume, but perhaps this makes it impossible for you to forget unpleasant events. Why don’t I do this. (She takes the amulet.) Tomorrow, I’ll go to the Reigan Temple and give the amulet to the priests and have them pray for your father and daughter.

  OYUMI: Perhaps you’re right. As long as I have this amulet, I can’t forget Oume. Please go and dedicate this amulet to the temple.

  OMAKI: I will. As soon as evening comes, let us go visit the temple. (Omaki puts down the amulet. The pounding of the drum suggests the rattling of wooden shutters in the wind. There is a rustling in the grass, and a rat appears and takes the amulet. The two women cry out in shock.)

  OYUMI: That rat ran away with the amulet.

  OMAKI: Where did that rat come from!? (They chase after the rat, and it jumps into the river.) It took the amulet into the river. (Omaki tries to recover the amulet, but the ground is soft and slippery.)

  OYUMI: Watch out! (Oyumi tries to hold onto Omaki and grabs her obi sash, but the obi rips apart in her hands and Omaki falls into the river, accompanied by a loud boom of the drum suggesting a splash. Oyumi falls on the ground holding the torn-off section of the obi, and she passes out from the shock. Magobei rushes to her and tries to help her.)

  MAGOBEI: Madam! Madam! Are you all right? (Muses on what he has just seen) I never thought that a single rat could pull a human being into a river, but that maid fell in and drowned. Now the other woman has passed out. What a terrible thing. (He is torn between staying to help and wanting to go on with his search.) But I don’t want to get involved in the troubles of a couple of beggars. All
the same, I don’t want to abandon them either. (He decides to go.) I do not know who you are, but I hope you recover. (He sees a red raincoat on the ground and covers Oyumi with it. He picks up the sotoba again and, mumbling prayers for Oyumi’s well-being, leaves. Lively shamisen music called “Tsukuda bushi” suggests boats on the Sumida River, while the pounding of the drum suggests the flow of the river.)

  Naosuke, a rōnin married to Osode, appears. In act 1, Naosuke fell in love with Osode, Oiwa’s sister, and to make her his own, he killed a man whom he thought was Sato Yomoshichi, her lover. At the same time, Tamiya Iemon, who was pursuing Oiwa, killed Oiwa’s father, Samon Yotsuya. Naosuke and Iemon subsequently work together. Iemon promised Oiwa to find and kill the murderer of her father, while Naosuke promised Osode to avenge the deaths of her father and her lover. There is also a connection to the story of Chūshingura, since Oiwa and Osode’s father, Samon, was a member of Lord Enya’s clan, and Sato Yomoshichi is also one of the loyal retainers hoping to find an opportunity to attack Lord Kō no Moronao and avenge their lord’s death.

  Now Naosuke calls himself Gonbei, a name that in the Edo period meant “a person not worthy of note,” also suggesting Naosuke Gonbei, the name of a retainer-servant who became notorious for betraying and killing his lord. Naosuke is currently an eel fisherman and wears tight-fitting dark blue trousers and a long, persimmon-colored coat. There is a basket for his catch at his waist, and he carries a three-pronged rake with a long handle used for catching eels. Even though Naosuke wears common work clothes, the cut and color of his costume make him look sharp and stylish, the epitome of Tsuruya Nanboku’s villainous heroes.13

  NAOSUKE (stops and speaks on the runway): There’s never been a year for fishing that’s been as bad as this one. The water seems good and muddy over here, just right for eels. Well, let’s start fishing. (He wades into the river and starts fishing for eels. Finally he fishes up a clump of hair tangled around Oiwa’s comb.) Ugh. My rake fished up a clump of hair. (He’s about to throw it away but looks more closely and sees the comb.) This comb is tortoiseshell. Let’s wash it. (He climbs back onto the riverbank and wipes the mud and hair off of the comb with some dry grass. He sits on a rock on the riverbed, gets out his pipe, and has a smoke. Meanwhile, to the accompaniment of quiet shamisen music, Iemon and his mother, Okuma, appear on the runway. Okuma, an old woman in a plain kimono, carries a sotoba. Iemon, in a black silk–crested kimono, wears a large basket-like straw hat that completely conceals his face. He carries a fishing pole and tackle. The two go to the middle of the dike.)