Traditional Japanese Literature

by Haruo Shirane

  Kyōgen has a close, contrastive relationship to nō. If nō is a serious drama based on song and dance, performed to the accompaniment of a chorus and musicians, kyōgen focuses on dialogue and comedy, only occasionally using a chorus and musicians. In contrast to the main nō actor, who wears a mask, the actors in kyōgen plays do not wear masks, except when portraying supernatural beings and some women. Kyōgen plays are short, about twenty to forty minutes, as opposed to the much longer nō performances. Unlike nō, which elevated itself to a high art by developing the aesthetics of yūgen, incorporating poetic language, and borrowing from and alluding to such classical texts such as The Tales of Ise and The Tale of Genji, kyōgen was based on contemporary life and used colloquial speech. Kyōgen plays generally portray an everyday world, unlike the dreams and other-worldly realms that characterize much of the nō. Similarly, the characters in kyōgen are anonymous, unlike the famous or legendary figures who often appear in the nō. Furthermore, kyōgen had no dominant and easily identifiable dramatists like nō’s Kanami, Zeami, and Motomasa. Instead, the plays are identified primarily by the kyōgen actors’ school. In short, unknown actor-playwrights created unnamed characters, thereby providing the basis for a dramatic form expressing popular sentiments.

  The historical relationship between kyōgen and nō drama parallels that of linked verse, which started as a popular pastime and then, in the late medieval period, split into two genres: renga (classical linked verse), which was based on classical waka poetry and poetics and alluded extensively to Heian classical literature, and haikai (popular linked verse), which emphasized humor, parodied the classics, used the vernacular, and reflected contemporary life.

  Today the Ōkura school has about 200 plays, and the Izumi school has about 250. A record of kyōgen plays in 1792 lists seven broad categories of kyōgen, variations of which are used today by the two major schools: (1) celebratory (waki) plays, (2) big landlord (daimyō) plays, (3) minor landlord (shōmyō) plays, (4) husband/woman (muko/onna) plays, (5) demon/mountain priest (oni/yamabushi) plays, (6) priest/blind man (shukke zatō) plays, and (7) miscellaneous (atsume) plays. Waki kyōgen (which resemble waki/god plays in nō) are celebratory kyōgen, represented by, for example, the plays of gods of good fortune (fukujin mono), in which a god of good fortune typically appears before worshipers and gives them his blessings. Daimyō plays, like Buaku, have a daimyō (big landlord) for their chief protagonist In shōmyō kyōgen, by contrast, a shōmyō (small landlord) is the lord and the servant (Tarō Kaja) is the main character. These are also referred to as Tarō Kaja (servant) plays. Delicious Poison (Busu), translated here, is the archetypal Tarō Kaja play.

  The daimyō or shōmyō in these lord-servant plays are not powerful provincial lords but samurai who own land (myōden) in a village. Depending on the size of the land and the number of servants, the lord could be referred to as a daimyō (large owner) or a shōmyō (small owner). These low-level samurai were not necessarily on the side of authority, and in the farmers’ uprisings (ikki), they often sided with the commoners. In kyōgen, the daimyō and shōmyō are often depicted as parvenu daimyō, a new class that was often seen at that time as reaching beyond their actual power. In the Tarō Kaja, or shōmyō, plays, the servant provides a critical perspective on the master, pulling him down to reality.

  Kyōgen appeared in the Northern and Southern Courts period, during the time of gekokujō (the overcoming of the high by the low), in which people of a lower status often rose beyond those of higher status. In the fourteenth and fifteenth centuries, the kyōgen audience, predominantly of low social status (though later made up of upper-rank samurai), no doubt identified with the “lower” figures like the servant (Tarō Kaja), who reveals the weaknesses and the contradictions of his social superiors. The Tarō Kaja plays often suggest that the bottom is the reality and the top is a self-imposed illusion. Kyōgen also goes beyond class distinctions to make fun of human foibles or weaknesses in general and thus do not represent actual daimyō or shōmyō so much as all those who think too highly of themselves.

  Kyōgen frequently debunks traditional authority figures, revealing incompetent samurai, weak gods and demons, impotent mountain ascetics, ignorant priests, and pathetic husbands henpecked by strong wives. In the demon plays like The Thunder God (Kaminari), a demon or god, thought to be awesome and fearful, is revealed to be weak or very human. In the mountain priest (yamabushi) plays like Mushrooms (Kusabira), the yamabushi, who were thought to possess superhuman and magical powers, are found humorously lacking in this regard. The humor of kyōgen also comes from parody, particularly of nō; for example, Buaku satirizes the conventions of the dream/ghost (mugen-nō) nō play.

  DELICIOUS POISON (BUSU)

  Delicious Poison is the most popular play in the kyōgen repertory and the canonical play of the genre. No character better represents kyōgen than Tarō Kaja, the leading character in this play. He is the archetypal clever servant, willing to exhaust every stratagem in order to outwit his master. Even though Tarō and his fellow servant Jirō destroy two of their master’s treasured art objects in this play, the audience’s sympathy clearly lies with the servants because of the master’s deceitful treatment of the pair. Tarō shows that his trickery is far more clever and effective than anything his master can imagine.

  Kyōgen’s humor walks the fine path between the psychologically real and the physically and vocally ridiculous, and no action better demonstrates this than the two servants desperately exhorting each other and waving their fans as they fearfully approach the poison, hoping to blow its deadly fumes in the other direction. This activity is executed with the elegance and precision that characterize all kyōgen per for mances and that make it impossible to mistake for clowning or buffoonery. Unlike most kyōgen plays, Busu has an identifiable literary source, the Collection of Sand and Pebbles (Shasekishū, 1279–1283), a collection of setsuwa compiled by the priest Mujū Ichien (1225–1312). The play adds a second servant, enabling a complex interaction and contrast between the characters that does not exist in the original.138

  Characters in Order of Appearance

  MASTER, a wealthy man ado/side role

  TARŌ, his servant shite/lead role

  JIRŌ, his servant ado/side role

  The Master, Tarō, and Jirō enter down the bridgeway, or hashigakari. The Master goes to the shite spot, and his two servants kneel down side by side about eight feet behind him.

  MASTER: I am a man who lives in this area. Today I must go over the mountains on business. Now I will call my two servants and order them to look after the house while I am away. (Walking to the waki spot) Hey, hey, the both of you, come here!

  TARŌ AND JIRŌ: Yeeeees. (They rise and go to the shite spot, standing on either side of it, facing the Master, who is at the waki spot.)

  MASTER: Are you there?

  TARŌ AND JIRŌ: We both are at your service.

  MASTER: I didn’t call you about anything special. I have to go over the mountains on a little business, and I want you to look after the house while I’m away.

  TARŌ: Wait. I’ll go with you, so have Jirō look after the house.

  JIRŌ: No, no, I’ll go with you, so have Tarō look after the house.

  MASTER: No, today my business is such that I need neither of you to accompany me. Now both of you wait here.

  TARŌ AND JIRŌ: Yes, sir.

  MASTER (speaks his next line while going to the stage assistant, picking up a large, lidded, cylindrical lacquer barrel, and carrying it to downstage center, where he places it): This is poison, so take special care when you guard the house. (He returns to the waki spot.)

  TARŌ: In that case both of us … right?

  JIRŌ: Right …

  TARŌ AND JIRŌ: Will go with you.

  MASTER: And why is that?

  TARŌ: After all, if that person will watch the house while you’re gone, no one else … right?

  JIRŌ: Right …

  TARŌ AND JIRŌ: Is needed to guard th
e house.

  MASTER: You both have terrible ears. I didn’t say “person,” I said “poison.” This is Busu, a poison so deadly that if a breeze blows over it and even a whiff of it reaches your noses, you will die instantly. Be aware of this and guard it carefully.

  TARŌ: In that case, we’ll do as you command.

  JIRŌ: I have one small question.

  MASTER: And what is that?

  JIRŌ: Well, if this Busu is so deadly that even a whiff is fatal, how is it that you are able to handle it?

  TARŌ: You asked a very good question.

  JIRŌ: I sure did.

  MASTER: Your uncertainty is most reasonable. This poison is the Master’s treasured possession, and as long as I touch it, it will do no harm. But if you two come anywhere near, it will kill you for sure. So be aware of this while you guard the house.

  TARŌ: In that case …

  TARŌ AND JIRŌ: We will do as you command.

  MASTER: Well, I’m going now.

  TARŌ AND JIRŌ: Are you going already?

  MASTER: I’m counting on you to look after the house.

  TARŌ: Don’t worry about the house, we’ll take good care of everything. Please take your time …

  TARŌ AND JIRŌ: And enjoy yourself while you are away.

  MASTER: I’m depending on you. I’m depending on you. (The Master exits down the bridgeway, and the two servants turn to watch him leave.)

  TARŌ: My, he sure left in a hurry.

  JIRŌ: You’re right. He sure left in a hurry.

  TARŌ: First of all, let’s sit down.

  JIRŌ: Right.

  TARŌ AND JIRŌ: Ei ei yattona. (Uttering this expression of physical effort, they sit alongside each other upstage, facing straight out at the barrel and the audience.)

  TARŌ: Actually, what I said to Master about wanting to go with him was a lie. Really, staying at home and guarding the house is a lot easier than working, isn’t it?

  JIRŌ: You’re right. Nothing is easier than what we’re doing right now.

  TARŌ (slapping the stage and then running down the bridgeway): Quick, run away, run away!

  JIRŌ (following Tarō): What happened, what happened?

  TARŌ: Just now there was a cold breeze blowing from the direction of the Busu.

  JIRŌ: That’s pretty scary.

  TARŌ: Let’s move a little farther away from it.

  JIRŌ: Good idea.

  TARŌ: Around here would be good.

  JIRŌ: Right.

  TARŌ AND JIRŌ: Ei ei yattona. (They sit side by side on a diagonal line in front of the flute position, facing the corner pillar.)

  JIRŌ: You know, I asked Master about it, but don’t you think it’s strange that poison so deadly a breeze passing over it can kill you, is harmless when the Master handles it? I wonder why that’s so?

  TARŌ: You’re right. There’s something strange about all this.

  JIRŌ (slapping the stage and then running down the bridgeway): Quick, run away, run away!

  TARŌ: What happened, what happened? (Following Jirō onto the bridgeway.)

  JIRŌ: Just now a warm, damp breeze blew from the direction of the Busu.

  TARŌ: This is getting worse and worse. You know what I think? Why don’t we take a quick look and see what’s inside that Busu?

  JIRŌ: What do you mean? How do you expect to get a look at it when even a whiff of it means sudden death?

  TARŌ: We’ll fan the wind blowing toward us back the other way and that’s when we take a peek.

  JIRŌ: That’s a fine idea!

  TARŌ: OK, help me by fanning with all your might.

  JIRŌ: Right.

  TARŌ: Fan hard, fan hard!

  JIRŌ: I’m fanning, I’m fanning!

  Tarō takes the lead position, advancing toward the Busu while hiding his head behind his raised left arm and fanning under his left sleeve. Jirō follows, holding his fan in both hands and fanning with an up-and-down motion.

  TARŌ: Fan hard, fan hard!

  JIRŌ: I’m fanning, I’m fanning!

  TARŌ: All right. I’m ready to loosen the cord, so fan with all your might.

  JIRŌ: Right, right!

  TARŌ: Fan hard, fan hard!

  JIRŌ: I’m fanning, I’m fanning!

  TARŌ: Run away, run away! (He runs back onto the bridgeway, Jirō following him.)

  JIRŌ: What happened, what happened?

  TARŌ: I managed to untie the cord. Please, you go and take off the lid.

  JIRŌ: No, taking off the cord was just the first step in taking off the lid. You go do it.

  TARŌ: No, no. The two of us have to take turns doing the dangerous work. Please, this time you have to go and take off the lid.

  JIRŌ: In that case, I’ll go take it off, but please fan for me with all your might.

  TARŌ: Right.

  JIRŌ: Fan hard, fan hard!

  TARŌ: I’m fanning, I’m fanning! (This time Jirō takes the lead fanning position, with Tarō in the following position.)

  JIRŌ: Fan hard, fan hard!

  TARŌ: I’m fanning, I’m fanning!

  JIRŌ: All right, I’m ready to take the lid off, so fan with all your might!

  TARŌ: Right.

  JIRŌ: Fan hard, fan hard!

  TARŌ: I’m fanning, I’m fanning!

  JIRŌ: Quick, run away, run away!

  TARŌ: What happened, what happened?

  JIRŌ: I got the lid off.

  TARŌ: That’s a relief.

  JIRŌ: Why do you say that?

  TARŌ: If something alive were inside it would have jumped out. At least we know it’s not something alive.

  JIRŌ: It might be playing possum, you know.

  TARŌ: It’s scary, but I’m going to go look at what’s inside.

  JIRŌ: That’s a good idea.

  TARŌ: You help me fan the breeze the other way with all your might, OK?

  JIRŌ: Right.

  TARŌ: Fan hard, fan hard!

  JIRŌ: I’m fanning, I’m fanning! (Tarō takes the lead position with Jirō following.)

  TARŌ: Fan hard, fan hard!

  JIRŌ: I’m fanning, I’m fanning!

  TARŌ: I’m ready to look in now. Keep fanning with all your might.

  JIRŌ: Right.

  TARŌ: Fan hard, fan hard!

  JIRŌ: I’m fanning, I’m fanning!

  TARŌ: Quick, run away, run away!

  JIRŌ: What happened, what happened?

  TARŌ: You know what? It’s brown and sticky, and looks delicious!

  JIRŌ: What’s that? It looks delicious?

  TARŌ: That’s right.

  JIRŌ: In that case, I’ll go take a look too. You help me fan with all your might.

  TARŌ: Right.

  JIRŌ: Fan hard, fan hard!

  TARŌ: I’m fanning, I’m fanning! (Jirō takes the lead position, with Tarō following.)

  JIRŌ: Fan hard, fan hard!

  TARŌ: I’m fanning, I’m fanning!

  JIRŌ: Fan hard, fan hard!

  TARŌ: I’m fanning, I’m fanning!

  JIRŌ: Quick, run away, run away!

  TARŌ: What happened, what happened?

  JIRŌ: Just like you said, it looks delicious.

  TARŌ: You know what? Suddenly, I want to eat that Busu. I’ll go eat it up.

  JIRŌ: What’s the matter with you? That’s a poison so deadly a breeze passing over it will kill you. How do you think you can eat it?

  TARŌ: Maybe I’ve been possessed by the Busu because I have a terrible craving for it. I’ll go eat it up!

  JIRŌ: Wait! As long as I’m by your side, I won’t let you go. (He seizes Tarō’s sleeve.)

  TARŌ: Let go of me!

  JIRŌ: I won’t let go!

  TARŌ: I’m telling you to let go!

  JIRŌ: And I say I won’t! (Tarō shakes loose from Jirō’s grip and sings as he approaches the barrel.)

  TARŌ:

  Casting off my darling’s sleeves I bid farewell …

 
And approach the deadly Busu poison.

  JIRŌ: Oh, no, you’ve gone near the Busu! Now you’re doomed!

  Tarō kneels on one knee behind the bucket. He sticks the bamboo handle of his closed fan into the barrel, stirs, and then says the following as he mimes eating a sticky substance off the handle of his fan.

  TARŌ: Ahm ahm ahm ahm.

  JIRŌ: Oh no! You’re eating the Busu. Now you are truly doomed!

  TARŌ: Ooooh, I’m dying. (Tarō strikes his forehead with his left hand and slumps forward.)

  JIRŌ (runs to Tarō’s side and supports him): Tarō, what happened? Pull yourself together.

  TARŌ (in apparent pain): Who is it, who is it?

  JIRŌ: It’s me, Jirō.

  TARŌ (gleefully): Hey, Jirō.

  JIRŌ: What happened?

  TARŌ: It’s so delicious, I’m dying.

  JIRŌ: What’s that? It’s delicious?

  TARŌ: Yes.

  JIRŌ: So what is the poisonous Busu?

  TARŌ: Here, take a look, it’s sugar!

  JIRŌ: Let me see it. It really is sugar!

  TARŌ: So, let’s dig in!

  JIRŌ: Right you are.

  TARŌ AND JIRŌ (stirring with closed fans, then miming eating the sugar off the handles): Ahm ahm ahm ahm.

  TARŌ: Well, well, isn’t it delicious?

  JIRŌ: You’re right. It is delicious.

  TARŌ: And because it’s so delicious, master tried to stop us from eating it, saying it was “Busu” …

  JIRŌ: “Poison” …

  TARŌ AND JIRŌ (laugh): Ha, ha, ha, ha, ha.

  TARŌ: It sure was nasty of him. Ahm ahm ahm ahm.

  JIRŌ: Let’s keep eating and stuff ourselves. Ahm ahm ahm ahm.

  TARŌ: It’s so delicious I’m afraid my chin will drop off! Ahm ahm ahm ahm.

  Tarō takes the barrel off to stage left, where he continues to eat alone. Jirō notices this and when Tarō isn’t looking, he takes it to stage right and proceeds to eat alone.

  JIRŌ: I can’t stop eating it. Ahm ahm ahm ahm.