S H O C H I K U
Kabuki P l a y
"SHIOBARA-TASUKE KE IZAI-KAGAMI"
I I A cts , 7 Scenes
W ritten by Shin’ ic h i Iwaya
To be presented at the Embujo Theatre From March 3, 1949 by Kichiemon,
"SHIOBARA-TASUKE KEIZAI-KAGAM I"
SYNOPSIS:
O-Hana, daughter of the ma s t e r o f the b i g shop Fu j i n o y a , f e l l in l o v e w i t h the poor c h a r c o a l - d e a l e r
Tasuke. Ta suke, however, had no mind to accept her because
o f the d i f f e r e n c e in t h e i r s o c i a l s t a n d i n g s .
Kyuhachi the ke g - c ol l e c t e r , Tas uke's f r i e n d , a d v i s e d her to go to Ta suke' s aunt and take good care o f h e r .
Ta suke, moved by the good nature and the e a r n e s t n e s s of the g i r l , made u p h i s mind to take her to w i f e .
The d r a m a t is t i n s i s t s th at a marriage should base upon the co n n ec ti o n o f h e a r t s , no t upon l o o k s and s o c i a l s t a n d in g s .
ACT I
Scene I
(A t e a - k i o s k on the l e f t , where some se ed -c a ke s are l a i d on the stand. On the r i g h t , a part o f the b r i d g e Y o t sumebashi. A w i l l o w - t r e e stands by the b r i d g e . The black wal l o f F u j i n o y a - Mokuemon' s house, c e n t r e . A l i t t l e window and a g a r d e n - g a t e i n the w a l l .
I t i s toward the ev en in g o f a November day, near the b r i d g e Yotsumebashi,, Ko n j o , Edo.
The c u r t a i n r i s e s w i t h the sound o f a gay music.
A clo g-mender, a young g i r l , a w i n e - d e a l e r e t c . pass a c r o s s the s t a g e . Soon Tasuke ’ s v o i c e i s heard behind the s t a g e . )
Tasuke: Won't you buy c h a r c o a l ? Charcoal s o l d by
measuring--- F i ve mon or seven moon a b a s k e t .
( i n response to t h i s , a v o i c e i s heard, "Hey, j u s t a moment, C h a r c o a l - d e a l e r .
C h a r c o a l - d e a l e r ! Just a moment."
Two or t h r e e women, seem ing ly h o u s e - w i v e s o f tenament houses, come running a f t e r Tasuke. They g a t h e r about Tasuke and buy c h a r c o a l f o r f o u r t e e n mon or t w e l v e mon from T a s u k e . )
2
Tasuke: Ok: Ta -: Ok : Ta: Ok: Ta: K y u h a ch i:No, Mr. Kyuhachi the k e g - c o l l e c t o r » whom I always meet h e r e . I b e l i e v e he had come today b e f o r e I d i d .
Oh, you mean the ke g - c o l l e c t o r . He h a s n ’ t come y e t .
Then I ’ m e a r l i e r than he, a r e n ’ t I ? No, the k e g - c o l 1e c t e r i s l a t e r .
Ha, ha, ha! E i t h e r w i l l do. Give me a cup o f t e a , w i l l you?
Sure, I ' l l se r v e you a cup o f t e a .
(She goes o u t . A v o i c e i s heard in the l e f t : "Have you any keg? Any empty ke g ?" Iw ataya
Kyuhachi (34 or 35 y e a r s o l d ) comes in
c a r r y i n g some empty kegs balan ce d on a p o l e . )
Oh, here he i s ! (Stands up to meet the k e g - c o l l e c t o r ) Good morning, K y u h a c h i . I was a f r a i d I was
l a t e r , but I was e a r l i e r as a m atter o f f a c t . Oh, dear Tasuke. Today I b e l i e v e d I ’ m e a r l i e r , but I ’ m b e a t e n . I ’ m so c a r e l e s s I l e f t my t o w e l a t a house where I bought a keg. I went ba ck to the house to f e t c h i t , and I was l a t e t o come h e r e . Hey, o l d woman! Give me a cup o f t e a .
We are a lw a y s t a l k i n g about you. Fi n e days w i l l c o n ti n u e , I b e l i e v e . Be f o r e s p r i n g comes, my dumplings won’ t s e l l .
K y u h a c h i : Ok: Kyu: T a : Kyuhachi: T a : Kyu: T: Give me a cup o f t e a .
Yes. I ' m s o r r y I was not c l e v e r enough. (She go es out h a s t i l y . )
By the way, Tasuke. You have thought out a
v e r y good s o r t o f b u si n es s , h a v e n ' t you? No , ---- but as times have become bad, they c a n ' t buy c h a r c o a l by the bag. So I s t a r t e d s e l l i n g broken c h a r c o a l which I had c o l l e c t e d f o r f i v e mon or seven mon a b a s k e t . Poor pe o p le are g l a d , and the number o f my customers grows b i g g e r day a f t e r day.
I t ' s a v e r y good i d e a - - — But i f you earn c o n t i n u o u s l y in th at way, y o u ' l l g e t too much money.
Oh, dear Kyuhachi! I f a man means to g e t much money, he can n e ve r be a g r e a t businessman.
She is so deaf she speak s in that way.
- 3 -
Then what s h a l l he do?
We l l , he may g e t much money, i f he t r i e s t o . But i t ' s no good, I say t o my money: " L i s t e n, my money! Se what I' m d o i n g ! Snowy or windy, I work and work i n straw san dals, c u t t i n g down my hours f o r s l e e p . And what are you doing? I c a n ' t l e t you
st a y c o m f o r t a b l y in the ca sh-box. Go and work! Go and work! "Thus sa y in g I s t r i k e my money on the h i p s .
Then, as the money f e e l s p a i n f u l , i t goes out, works and then comes back. I t says, " I ’ m t i r e d . P l e a s e keep me." But I answer i t , " I am working as you s e e . You must not be so weak-minded. Go and w or k. " I ag a i n beat i t on the h i p s . As i t f e e l s p a i n f u l , i t goes out to work again and comes back. At l a s t i t says, "Now I ’ m dog - t i r e d . I can' t work any more. P l e a s e keep me. I won’ t go anywhere. I ’ l l n e v e r p a r t w i t h y o u . " So I say, " A l l r i g h t . Then I ’ l l keep you. T h is i s a n a t u r a l and spontaneous way o f g e t t i n g
r ich."
I s e e . This i s the f i r s t time I e v e r heard such a t h i n g . You beat your money on the h i p s .
That ' s a good i d e a .
In one word, I t hin k o f o t h e r s b e f o r e t h i n k i n g o f my own b e n e f i t . I s e l l good t h i n g s f o r
r e a s o n a b l e p r i c e s . I make good the small margin o f p r o f i t by worki n g h a r d .
H m I unde rst an d! Now I ’ l l change my way o f b u s i n e s s . I ’ l l work w ith the same s p i r i t as y o u r s . L e t ’ s compete which o f us may have a b i g g e r shop. Now I c a n ’ t be i d l e . I ’ m g o i n g to
4
-Kyu:
Ta:
- 6-
make a round. Old woman, he re i s my tea-money.
Okuma: Thank you v e r y much.
Kyu : Tasuke, see you tomorrow.
Ta : I hope y o u ’ l l work out much money.
K: (Stands up F i n d i n g va cant shops in the r i g h t )
Oh, h e re are two vacant shops. I t ’ s no good to have thes e sunny shops v a c a n t . (He c a r r i e s h i s k e g s . ) Any empty shop? Any empty shop?
Ta: He y , Kyuh ac hi. You mean empty shop?
Kyu: Sure! I ’ m so c a r e l e s s . Any empty keg?
Have you any empty keg?
(Kyusuke go es out, l e a v i n g h i s t obacco case on the c h a i r . Tasuke takes a cup o f tea, and smokes. A melody o f "K o t o " i s heard from w i t h i n F u j i n oy a .
Tasuke: Oh, I hear a sweet melody.
Ok: I t ’ s k o t o ( h a r p )
T a : I know i t , but who i s p l a y i n g ?
Ok: T :
Oh, i t ’ s F u j i n o y a ’ s daughter p l a y i n g . Ah! I s she?
(Women b e g g a r s ' v o i c e s are heard in the l e f t .) W o m a n Beggar : Give me what money you c o l l e c t e d . He y , g i v e me
6
O-Kame: No, I ' v e g o t non e.
(Okame, S h i o b a r a ’ s widow and b l i n d beggar, and Shimataro, e i g h t y e a r s o l d , a re c a r r i e d in from the r i g h t by O- S u t e , O-Kuro and O-Komo, a l l women b e g g a r s . )
O- Sute: You are only a n o v i c e , and you da re d to v i s i t our t e r r i t o r y
-O-Komo: House a f t e r house.
O- Kame: I ’ m a bl i n d beggar as you s e e . I d i d n ' t know where I w e r e . — P l e a s e f o r g i v e me.
Shimat a r o : E x c u s e me, ma ' am.
O-Sute: You apeak i n such an i n s i n u a t i n g v o i c e , but I won’ t be d e c e i v e d . I ’ m not so d e c e i v a b l e . O-Kuro: L e t ’ s drag them w i t h o u t s p a r i n g !
O-Komo: L e t ’ s drag them!
O-Kame: P l e a s e excuse me!
B e g g a r s : Come w i t h us! Come w i t h us!
(The t h r e e t r y to c a r r y O-Kame away. Tasuke t r i e s to mediate t h e i r q u a r r e l . )
Tasuk e: Hey! Wh a t are you doing? Don’ t te a se such
a poor woman. I ’ l l mediate between you. So p l e a s e f o r g i v e h e r .
O- Su t e : But, l i s t e n ! This b l i n d b e g g a r i s only a n o v i c e . And she had the a u d a c i t y to v i s i t our t e r r i t o r y .
O-Kuro: She went beg gin g b e f o r e us w i th o u t e s t a b l i s h i n g any co nn ec tio n w i t h us. I ' l l s u r e l y reduce our e a r n i n g . We c a n ’ t stand i t .
Tasuke: I se e. I s e e . I ’ l l t a l k t o he r w e l l .
So f o r g i v e her f o r t h i s . ( He g i v e s them each one mon.)
O- Sute: One mon each i s too che a p, b u t
-O-Kuro: As you are an honest tradesman, we c a n ' t ask
you more.
O-Komo : L e t ' s a g r e e .
Ta su k e : Then go away.
O - s u t e : Sh e ' s on ly a b l i n d , a n d -O- K u r o : T h e r e ' s no s u c h
-O-Komo: A cheeky woman.
(They go away to the l e f t . )
O-Kame: Thank you, thank you e v e r so much, s i r . I have
no words to e x p r e s s my g r a t i t u d e .
The mother and son are now saved by your f a v o u r .
(Tasuke l o o k s a t t e n t i v e l y at h e r , and i s a s t o n i s h e d . )
Tasuke: Oh, you are my aunt!
O-Kame: Wh a t ? ---And who a re you?
Tasuke: I ’ m your nephew Tasuke who par te d w i t h you a t
Numata nine y e a r s ago.
-8
O-Kame : Oh, are you T a s u k e ? ---I ’ m
ashamed----( T r i e s to run aw a y .)
Tasuke: Aunt! D o you understand you are shameful?
(Music) You were born in a w a r r i o r ' s f a m i l y and c a l l e d " Mademoisel l e "
And how i s i t that y o u ' v e come t o such, a
s i t u a t i o n as I see. When I was e i g h t y e a r s o l d ,
you were married t o Kakuemon Shiobara as h i s second w i f e and gave b i r t h t o a g i r l named
O - E i . When my f a t h e r was d y i n g , I married w i t h O-Ei at my f a t h e r ’ s b e d s i d e ,
But you f o r g o t ny f a t h e r ’ s wi l l . W hen you were n e a r l y f o r t y , y ou misconducted w i t h T a j i Ha r a . B e s i d e s , you l e t my w i f e O-Ei c a r r y on w i t h Tazaburo , T a n j i ’ s son.
What you did was q u i t e an a n i m a l ' s d o i n g , w a s n 't i t ? I bore w i t h p a t i e n c e , t h i n k i n g th at i f I should
l o s e temper, I must q u a r r e l w i t h my bl oo d r e l a t i o n s . At l a s t you t r i e d to k i l l me. So I l e f t my
home and came up to Yedo.
A u n t ! Thanks to you, I may reach a m erc h an t's e s t a t e . I e x p r e s s my thanks.
O-Kame: In sp it e
- 9
-Tasuke: O-Kame: Ta: O-Kame:
Dear Tasuke. P l e a s e f o r g i v e me.
o f my age,. I was mad w i t h l o v e , and I was c r u e l to you who were the h e i r . I t was h e a v e n ' s judgment th at on the v e r y n i g h t
o f the wedding a f i r e broke o u t at the barn behi n d the house. When we were
r u s h in g to and f r o in the smoke, O-Ei and Tanzaburo wer e b i t t e n to death by our black hors e which was f r i g h t e n e d by f i r e .
Were O-Ei and Tanzaburo were k i l l e d by the
bl a c k h o r s e ? --- And what, wha t about the ho r s e? The hors e a l s o d ie d in t he f i r e .
Oh, t he horse died then ! ( Va ca nt , w i t h t e a r s .)
Then I l e f t the home place and t o o k my
way to Yedo . But on the way, a r a s c a l robbed me o f my c l o t h e s , to say n o t h i n g o f my t r a v e l l i n g money. B e s i d e s T a n j i met w i t h a v i o l e n t d e a t h . D i s a s t e r s f o l l o w e d , and I l o s t my s i g h t
---and am now so m i s e r a b l e . Th i s i s a l l punishment f o r what I d i d to you and your f a t h e r .
Dear Tasuke! Now I know i t f o r th e f i r s t time. Now I ’ m awake.
Pardon me. ( She s o b s . )
10 Shimataro: O-Kame: Tasuke: O-Kame: Tasuke: O-Kame: Tasuke:
Mother, i s this gentleman my unc l e who you always speak of?
Yes.
Then i s t h i s T a n j i Hara' s c h i l d ?
Though he was b orn as a r e s u l t o f my misconduct, i t ’ s too bad t o be horn a be g g a r .
---Dear Ta su ke ! I have n o t h i n g to compl a i n o f my s i t u a t i o n . But the s i n s o f the mother have
been v i s i t e d to the son.
This boy who i s not at a l l r e s p o n s i b l e i s - - — i n d e e d --- poo r.
But f o r you r misconduct you woul dn' t have g i v e n b i r t h to h i m . --- But— no , even i f you were
a s t r a n g e r to me, you are a good woman when you turn a new l e a f . I f e e l s o r r y f o r you as a good woman. P l e a s e come w i th me.
what?
I n a t u r a l l y should take you in and c a r e f o r you. But I ca n’ t do i t f o r my dead f a t h e r ’ s
s a k e . - - - - W e l l , a l l r i g h t . F o r t u n a t e l y my master o f Yamaguchiya has a va c a n t shop a t Kameido. Though i t ’ s a humble p l a c e , p l e a s e
l i v e in i t . ---. I ’ l l p r o v i d e f o r your l i v i n g , a lt h o u g h i t may be s c a n t y .
- 11
-O-Kame: Are you g o i n g to h e l p me who i s q u i t e an enemy o f y o u r s ? - - - — Oh, I c a n ’ t see. But Shimataro. You ought to remember w e l l your u n c l e ’ s f a c e and repay h i s f a v o u r . S h im a ta r o : Y e s . Thank you e v e r so much, s i r .
Tasuke: Oh, poor f e l l o w ! You speak as a beggar d o e s
Now aunt, come w i t h me, H e r e ’ s my t e a -money.
(Tasuke go es to the s t a g e passage. The o t h e r two f o l l o w him. O-Kame s t o ps a w h i l e .
Tasuke: What' s the matt e r ?
O-Kame: I f we, these d i r t y mother and son, go w i t h you,
i t wi l l be your shame.
Tasuke : Aunt. I f my f i v e f i n g e r s are d i r t y , can I cut o f f one o f them?
O-Kame: What a kind h e a r t you have ! --- De a r Tasuke.
I ’ l l n e v e r f o r g e t your f a v o u r . S h i m a t a r o ! Say your thanks once a g a i n .
Sh im a ta r o : Thank you e v e r so much, s i r .
Tasuke: He y , you speak agai n i n a such a way.
O-Kame: I ’ m ashamed.
(Music. O-Kame, and Shimataro, the l a t t e r t a k i n g the former by the hand, f o l l o w Tasuke. They go out through the s t a g e - p a s s a g e . O-Hana, daughter o f Fuj in oy a, and O-Kane, h e r mai d - s e r v a n t ,
12
-O-Ha na :
f o l l o w s them w i t h t h e i r e y e s . They had been l o o k i n g at t h e m f o r some time a t the window. Kyuhachi, who had come b ack to g e t h i s t o b a c c o - case l e f t behind and a l s o been l o c k i n g a t
Tasuke. They a l l are st ru c k w i t h a d m i r a t i o n . Oh, what a kind h e a r t he has!
K y u h a ch i: The mother and son who were q u i t e e n e m i e s -O-Kane: Were a l s o h e l p e d . How r e l i a b l e ---- he i s !
(Kyuhachi exchanges g l a n c e s w i t h O-Hana.
Kyu: Any empty keg? Empty keg !
(He goes i n t o the t e a - b o o t h . )
K y u : ( T a ki n g the tobacco case he had l e f t ) .
Ah! I f i n d i t ! I f i n d i t !
O-Kuma; as I ’ m d u l l o f h e a r i n g , I co ul d not q u i t e understand, but i s the be ggar an acquaintance o f Tasuke?
Kyu : Tasuke was lucky t h a t you are hard o f h e a r i n g .
I f you could hear , he would be ashamed.
O-Ku: Poor woman! Did she come so lon g a way?
K y u : What?
She i s s t o n e - d e a f
O-K: Honj o i s not f a r away. (Gets i n t o the k i o s k .
O-Kane comes i n from the g a r d e n - g a t e b e h i n d . ) O-Kane: P l e a s e , k e g - c o l l e c t o r !
Kyu: O-K : Kyu: O-K: Kyu: O-K : *
Yes, ma’ am. Who a r e you?
I ’ m F u j i n o y a behind h e r e . — ---Would you come w i t h me?
Oh , t h a t mansion---- k i n d l y s e l l me — t h e n I ' l l go to the k i t c h e n ,
(Going a w a y . ) No, not t h a t way.
What? ( W o o d - c l a p p e r . ) P l e a s e come t h i s way.
( She l e a d s Kyuhachi to the g a r d e n - g a t e . He g o l l o w s h e r, l o oki n g s u s p i c i o u s .
Stage r e v o l v e s . )
-14
Scene I I
F u j i n o y a ’ s te a -ro om . T a s t e f u l l y a rr a n g ed . A garden w i t h t r e e s , pine n e e d l e s s c a t t e r e d and s t e p p i n g - s t o n e s . Pa r t o f the main house w i t h a round window i s seen. S o l o . Kyuhachi the k e g - c o l l e c t o r cones in le d by O-Kane.
O-Kane: P l e a s e come i n .
Kyuhachi ( L o o k i n g around): Oh, the mansion of a pur ve yor to the Tokugawa government i s s p l e n d i d !
O-Kane ( S e r v i n g a c u s h i o n ) : P l e a s e come h e r e .
Kyuhachi: N- - - n- - No, thank you. I f a k e g - c o l l e c t o r should go i n t o such a f i n e mansion, h i s l e g s would become cr oo ke d .
O-Kane: Ho, ho, ho!
Don 't be so r e s e r v e d . P l e a s e come i n . Kyu: O- K a n e : K y u : O-K:
as I ' l l buy them as h i g h a s a I can, p l e a s e be quick in g i v i n g them to me. My master w i l l soon be h e r e .
The master p e r s o n a l l y s e l l away empty kegs in such a b i g house as t h i s ?
Ho, ho, h o ! ---- No, my master has something t o t a l k w i t h you.
So p l e a s e come i n t o the room and w a i t h e r e . ( Going to l e a v e . )
1 Ky u : O-Kane: Ky: O-K: Ky: O- K : Ky-: O-Hana: O-Kane: Kyuhachi: O-Kane: Kyuhachi: Mokuemon: * P l e a s e . I f h e w a n t s t o n e g o t i a t e , I ’ l l , go to the k i t c h e n . (Treads on s c a t t e r e d p i n e needl e s . )
You' l l be s c o l d e d i f you t r ead on the s c a t t e r e d p in e n e e d l e s .
I see, I see. ( N e r v o u s l y )
Then I ' l l g o t h i s w a y . ( Going)
P l e a s e d o n ' t ! T h e g r a s s w i l l b e ruined.
I s e e . I s e e . ( Mor e embarrassed, p l a ces h i s p o l e a g a i n s t the stone l a n t e r n . )
Oh ! P l e a s e don’ t p l a c e your p o l e ag a i n s t the s t o n e l a n t e r n .
Ah! What shal1 I d o ? T h a t I a m g i v e n so much t r o u b l e only f o r a keg- or t w o ---.
( J u s t t h e n , O - H a n a come s in with some b u n s . ) Oh, de ar k e g - c o l l e c t o r .
What is the m a t t e r ?
How have a cup of t e a , p l e a s e . Then I ' l l take i t .
( E a t s a b u n . )
( M o k u e m o n , t h e m a s t e r , c o m e s i n . ) Th is i s my mas te r.
Eh? (When he i s s u r p r i s e d , the bun s t i c k s in h i s t h r o a t . )
K y : Mok: K y : Mok: Mokuemon: Kyuhachi: Mok: K— : M---- : K- - :
Have I the honor of s e e i n g t he mast e r , then? Yes, I a m Mokuemon Fu j i n o y a .
I ’ m g l a d t o meet you.
Oh, thank you ver y much . My name is Kyuhachi
I w a t a y a . A n d - - - h o w many empty kegs have you got, s i r ?
I 'm s o r r y to t r o u b l e you oh on you are v e r y busy, but I ’ ve g o t so me th ing t o ask of you.
I s e e , s i r . Pr i ces o f ke gs change from time to time , but a ne w ca sk such as Kuromatsu or On i g o r o s h i wi l l be t h r ee or four
hundred mon.
Oh, no . What I should l i k e t o ask of you i s not about c a s k s .
What? No t kasks?
W e l l , a b out the charcoal dealer who often t a k e s a r e s t w t i h y o u a t the t e a - k i o sk a t the back of my house.
Oh , do you mean Tasuke the cha r c o a l d e a l e r ? Is
he c a l l e d Tasuke? And where was h e b o r n ? I b eli ev e h e w as b orn s om ew her e ne ar
Numata, Joshu. They say th at he was t h e he i r o f a d i s t i n g u i s h e d f a m i l y , b u t o w i n g to v a r i o u s r e a s o n s h e c a m e u p t o Y e d o e i g h t y e a r s .
Then he was an employee at a charcoal
whol e s a l e d e a l e r's shop c a l l e d Yamaguchiya at Sakumacho in Kanda. During his long years as an employee he c o l l e c t e d a l l t h e broken c h a r c o a l t o b e c a s t a w a y .
-
2
- 3 -Mokuemon: K y u h a c h i: M: K: M: K: M: K : MO: N ow h e l i v e s n e x t - d o o r t o m e , a n d s e l l s t h e b r o k e n c h a r c o a l b y m e a s u r e s f o r f i v e o r s e v e n m o n . H e i s k i n d a n d h o n e s t a n d f r u g a l . A n d d o y o u w a n t t o b u y h i s c h a r c o a l b y
measure when you l i v e i n such a big house?
O-Hana :
Kyuhachi:
O-Hana :
Mokuemon:
K:
Yes (Serves tea to Kyuhachi)
D o n ' t t r o u b l e y o u r s e l f f o r m e , p l e a s e . P l e a s e t a k e a c u p o f t e a , T h o u g h I c a n ' t p r e p a r e i t w e l l . Though my daughter i s i n e x p e r i e n c e d , p l e a s e b e kind to he r . Yes, I ---.
I might buy i t f o r whole of my pr op er ty , i f ---. Wha t?
W e ll, d e a r K y u h a c h i, h a s T a s u k e a s p o u s e ?
What do you mean by ''spouse"? I mean a wi f e .
Oh , no. Of course no t . Is he a b a c h e l o r , then?
Yes, a s i ngle man . He, he, he! He is q u i t e ---I see. (To O-Hana contentedly)
Hey, O-Hana! Have you not prepared tea? Be quick.
M: K: O-Kane: Kyusuke: Mokuemon: K: M : K: Now d e a r k e g - c o l l e c t o r . P l e a s e t a k e t h e c u p o f t e a w h ich M a de mo ise ll es h as p re pa red .
T h e n I ' l l take i t . (Takes up the cu p . ) How swe e t t he U j i t e a s m e l l s !
I s t h i s c a l l e d J o k i s e n ?
You seem t o be a master of t e a ,
Oh, n o, b u t ---- ( D r i n k s ) And i s t h i s the O g a s a w a r a s t y l e ?
No, M a d e m o is e lle i s t r a in e d i n the U rasenke s c h o o l. Oh, the U ra ---. S o i t n a t u r a l l y t a s t e s b i t t e r --. I t ' s v e r y n i c e t e a .
( He d r i n k s w i t h e f f o r t s . ) You with bent head.
You mean you are serious? S u rely.
And by what reason do you want t o mar r r y with that charchoal dealer, Mademoiselles? S he i s n o t a t t a c h e d t o h i s s t y l e , b u t s h e e x p e c ts s o m e t h i n g of him. S h e e x p e c t s h e h a s s o m e t h in g p r o m is in g about two i nc he s below his n a v e l .
To what bath-house does y o u r dau gh ter go? H o w s l o w o f und e r s t a n d i n g you a r e !
She i s a tta ch ed t o the c h a r c o a l d e a l e r ’ s h e a r t. O h , I s e e . T h e h e a r t i s t w o i n c h e s b e l o w th e n a v e l ? I s i t r i g h t, M a d e m o i s e l l e s ? - 4 - O-Kane:K: Ky: M: K:
O-Hana Oh, I'm shy.
K: I 'm much impressed mademoiselles sees his h e a r t and
i s going to marry him.
And you want t o ma rry her with him.
He i s lu c k y . A l l r i g h t . I ' l l see t o i t .
M: Wi l l you compl y ?
K: Yes, I ' l l s u r e l y a c t a s a go-between.
O-Kane: M a d e m o i s e l l e s , t h e k e g - c o l l e c t o r says Kyuhachi ( s i t t t n g down on the ground a n d b o w i n g ) :
O - o h ! M a d e m o i s e l l e !
O-Hana: M y father is com in g. He c a n ' t t a l k with you t h e r e - - Pl e a s e come i n .
Kyuhachi: N t h a n k y o u . o , n o , O-Hana:
K a n e ! L e a d t h e k e g - c o l l e c t o r i n .
O-Kane: Y e s --- . I asked him a g a i n a n d a g a i n , b u t - - - - . P l e a s e come i n , dea r k e g - c o l l e c t o r !
M a d e m o i s e l l e i s a s k i n g y o u t o c o m e i n . Ky: No, no, t h a n k y o u . I ' l l b e h e r e .
O-Kane
Oh, why do you s i t on the s t e pping s t on e ? ---P l e a s e c o m e i n . ( S h e h e l p s K y u h a c h i t a k e o f
th e straw sandals and l e a d s him i n t o the room.) O-Hana:
Ky:
I ' l l s e r v e y o u a c u p o f tea though I c a n ’ t do i t w e l l . P le a s e h a v e so m e ca k e s.
Oh, n o . ---Not I .
( O- Kane f o r c e s him t o take a bun.) O-Hana be g i n s t o p r e p a r e t e a . )
6
Mokuemon: K y u s u k e : O-Hana: Kyusu k e: O -K an e: N o w , d e a r K y u h a c h i-I'm s o r r y to t r o u b l e you, but w i l l you k i n d l y comply
wit h my daughter's wish?
Wha t do y ou mean , s i r ?
T o t e l l the t ru t h , my daughter overheard a t t h e window much of what you and the charcoal d e a l e r t al k ed
d a i l y at, the t e a - k i o s k behind my house, an d she has become q u i t e a t t a c h e d t o the
c har c o a l d e a l e r --- And I thoug ht I would ge t her mar r i e d t o him by a l l means.
W e
ta l k e d o v e r and o v e r , a nd decided to ask you to help us, because you are h i s i n t i m a t e f r i e n d .
S o w e
have asked you t o come in.
I d i d n ' t know i t . Then Ma d e mo i s e l l e s d e a r l y l o v e s Tasuke and wishes t o marry w i t h him? But are you s e r i o u s ?
I a m a m a n p e r m it t e d t o w e a r a sword, and I implore he w i l l i t act as a g o-between.
Ease your mind, p l e a s e . B u t i f T a s u k e sa y s n o ---.
Oh, he has no reason to s a y n o ---.
When I t e l l him that you want t o marry him, he mig ht go ma d out of e c s t a s y . Oh, i f s u c h a t h i n g s h o u l d h a p p e n t o t h e d e a r b r id e g r o o m ! M: K : M:
K: H a , h a , h a ! I t ' s a j o k e .
He ha s n o r e a s o n t o r e f u se ---.
Mokuemon:
I assure y o u .
I f e e l a t ease t o hear i t .
K: Th e n I ' l l g o and t e l l him the s t o r y as soon as I can. He w i l l s u r e l y be gl ad.
M: I l e ave a l l thin g s t o you.
K: C e r t a i n l y , s i r . M:K: P l e a s e b r i n g u s g o o d n e w s . A l l r i g h t , s i r . ( H e i s g o i n g a w a y , w h e n O - H a n a s a y s a n x i o u s l y . ) O-Hana: Fa t h e r --- I ’ m anxious y e t ---M: P l e a s e , K y u h a c h i ! Kyuhachi: Yes ! ( Looks b a c k . ) Mokuemon:
K :
I ' m s o r r y t o r e p e a t m y q u e s t i o n . But a r e you su re of success?
Y es , I have tak en the ma t t e r in hand. I ' m s t a k e t h i s .
(Pa t s h i s own n e c k . W ooden-cl a p p e r s s t a g e r e v o l v e s . ) 7
-W e l l - s i d e o u t s i d e a t e n a m e n t house ( A i o c h i o H o n j o ) .
A d r y i n g p l a ce in the l e f t . A l i t t l e w h i l e a f t e r the t i me of the p r e c e d in g s c e n e . T orwards e v e n i n g . O -R oku: O -T o k i
O-Roku, a ho u s e w i f e of the tenament house, is
washing r i c e . O - T ama an other h o u s e w i f e , i s w a s h i n g . O - T o k i, a n o th e r h o u s e w ife , is t ak in g in the wash i n g .
My husband Garappachi has not come b a c k s in c e th e d a y b e fo r e y e s te r d a y . When I think why I m arr ied him.
I f e e l d e e p l y s o r r y when I t h i n k w h y I m a r r i e d such O-Tama: O-Toki O -R o k u O-Toki O-Tama: a f e l l o w . I kept on weeping l a s t ni g ht al l thr o u g h t h e n i g h t . On the c o n t r a r y , Tasuke i s ---How do you t h i n k o f h i m?
He g o e s out f o r tr a de e a r l y in the mornin g w he n s t a r s a r e s t i l l in t he sky.
I never saw such a h a r d - w o r k i n g man a s he. I t i s my l o s s u n t i l the day s of my c h i l d r e n a n d g r a n d c h ild r e n t h a t I d id n o t m a r r y h im . ( J u s t t h e n , G e m p a c h i , O - T o k i 's h u s b a n d , c o m e s b a c k a n d o v e r h e a r . ) Su r e l y . W h e n I ' m r e b o r n , I ’ l l marry a ha rd -w or ki ng man as Tasuke. So w i l l I . 8 -S c e n e I I I O -Roku: O -Roku: A h , I ' m d i s g u s t e d w i t h h u s b a n d . Da y a f t e r d a y h e d r i n k s s a k e a n d s l e e p s . B u t h e i s b e t t e r t h a n m i n e , b e c a u s e h e c o m e s h o m e .
O- T o k i : O-Roku: Gempachi: O-Toki: Gempachi: O-Toki: Gempachi: O-Toki: O-Tama: Gempachi: O - T o k i : Gempachi:
H e i s k i n d , g ood natured and har d - w o r k i n g . What a difference from my husband Garappachi! I nde e d
---(She f i n d s Gempachi or Ga r a p p a c h i .) O !
H e y , m y g i r l ! Y o u s i m p l y p r a i s e d t h a t c h a r c o a l d e a l e r !
Oh, did you hear w h a t I said? You we r e l ucky t o hear i t .
I hope i t w i l l cause you b e c o m e a h a r d - w o r k i n g mas as Tasuke.
W h a t ? Y o u h e a d s t r o n g g i r l ! (Gra b s a t h e r . )
What a r e you g o i n g t o do?
D o n ' t c a r r y y o u r j e a l o u s y t o o f a r ! Be ashamed!
(T h ru st s him aw ay. ) What!
H e y ! B e p u f f e d u p w i t h p r i d e a f t e r y o u become a d i l i ge n t man a s Tasuke.
I a g r e e w it h y o u .
You b e t t e r speak in such a way w h e n you are a man like Tasuke. Y o u n a s ty f e l l o w s ! W h a t i n s u l t ! F e l l o w s a r e men . W e a r e women. D o
you know what I ’ m g o i n g t o do? ( A g a i n g r a b s a t h e r . )
-10
O -T o k i Y o u b r u t e ! W h a t d o y o u d o ? I w o n ' t b e b e a t e n . ( t h e y s t r u g g l e . O - T a m a t r i e s t o p a r t t h e m . ) O-Roku: W e a l l w i l l b e y o u r e n e m i e s w h e n y o u speak i l l o f Tasuke. O-Tama: Y e s , y e s . W h y a r e w e w r o n g w h e n w e p r a i s e Tasuke? O-Roku: W h e n I ' m r e b o r n , I a l s o w i l l b e w i f e t o a m a n l i k e T a s u k e . O-Tama: I f y o u t e a s e O - T o k i , w e ' l l f i g h t w i t h y o u . (The t h r e e h o u s e w i v e s p u s h G e m p a c h i b a c k t o t h e gat e. G em pa chi go es aw ay.O-Roku:
The w o m e n f o l l o w , h i m b u t O - R o k u a p p e a r s a g a i n . ) I t ' s q u i t e a b s u r d .
-He himself is an idle fellow, and gets ang ry when we praise Tasuke.
How jealous he is! (She resumes washing.
Tasuke a p p e a r s f r o m t h e u p p e r d o o r t o w a s h r i c e . H e s q u a t s d o w n b e s i d e t h e w e l l a n d w a s h e s r i c e . ) O-Roku: Oh, dear Tasuke. To da y yo u h av e c om e ho m e ve ry
e a r l y a r e n ' t y o u ? T a s u k e : Y e s , a s I h a v e s o m e t h i n g t o d o , I stopped my work earlier and came home.
11
O -R o k u : Tasuke: O-Roku: vo ice o f Rokusuke: O -R o k u Kyusuke: Tasuke: Kyusuke: I n t h i s A i o i - c h o a n d t h r o u g h o u t H o n j o t h e r e is no o n e s o h a r d- w or ki n g a s y ou a re . I t ' s n a t u r a l t h a t a m a n s s h o u l d w o r k . I have n o t h i n g t o be p r a i s e d o f .That's it! --- When you sp ea k in th at wa y , you a r e so f i ne t h a t you almost ha ve h a l o s .
Y o u a r e t oo g o od t o be le ft a lo n e a s a ba ch e lo r . ( L o o k s a t h i m a t t e n t i v e l y . Her husband's v o i c e ca l l s h e r . ) H e y ! W h e r e a r e y o u ! B a b y i s a w a k e ! S h u t u p ! I ' m g o i n g n o w . Y o u a r e i n d e e d a g r e a t h elp.
(She g o e s out g r um bl in g, w i t h washing in her hands. Tasuke keeps on washing rice, when
K y
uhachi comes in through t h e g a t e . ) H e y , T a s u k e !
----T a s u k e ! O h , here you a r e !
Kyuhachi. Why a r e you i n such a hurry? W h y a m I i n s u c h a h u r r y ? A s p l e n d i d luck has come down on you from Heaven.
I'v e c o m e
running because I wanted to inform you of i t a s s o o n a s I c a n .
---Oh, ho w t h i r s t y !
12
-Tasuke: What on earth has happened?
(Stands up and looks at Kyuhachi.
Kyuhachi:
His f ace i s stai n e d w i t h c h a r c o a l . )
Well, a g r e a t good l u c k has c o m e t o y o u . ( L o o k i n g a t T a s u k e ' s f a c e . )
Tasuke:
O h , y o u r f a c e !
Ha, ha , ha ! ---- - Hu! hu! hu! ---Ha, ha, ha!
W h a t ' s t h e m a t t e r ? ---Wh a t ’ s the ma t t e r ?
Ky: Ha, Ha, h a ! ---( L o o k i n g a t Tasuk e’ s f a c e . ) Y our f a c e ---Ha , ha , h a !
Y o u r fa c e - - - M a d e m o i s e l l e s , A h a , h a , h a !
Tasuke: What's the matter? What on e a r t h is the ma t t e r ?
Ky: Well, nothing ---- nothing. Ha, ha, ha!
Ha, ha, ha! Ta (Indignantly):
K:
I ' m b u s y . ( G o i n g a w a y w i t h r i c e . ) O h , w a i t ! W a i t !
T: What's the matter? (Looks back.)
Kyusuke(Lo o k i n g at h i s f a c e a g a i n . ) : Ha, ha, h a !
Y o u r f a c e - - - - M a d e m o i s e l l e s , Ha, ha, h a ! Tasuke: I ' m g o i n g n o w . ( G o i n g . )
K : O h , w a i t ! P l e a s e w a i t ! I wo n ’ t laugh any m o r e ---No, not a ny more.
13
H a v e y o u g o t a n y t h i n g m o r e t o t a l k t o m e ? P l e a s e b e q u i c k . ( L o o k s b a c k . )
( G a z i n g i n t o T a s u k e ' s f a c e ) A , h a , ha, ha! T asuke!
I 'm s o r r y , b u t l e t m e l a u g h o n c e m o r e ----U , a , h a , h a , h a ! ----U , a , h a , h a , h a , h a !
(Ge t s an g r y )
I ' m g o i n g ! ( G o i n g )
S o rry, I'm so rry. I w o n 't la u gh any more. I ' l l n e v e r l a u g h a g a i n .
So p l e a s e l i s t e n to me. (Comes back helplessly.)
You know Fujinoya at Yotsume,
d o n ' t y o u ? T h a t F u j i n o y a c a l l e d m e i n . I n a t u r a lly t h o u g h t t h a t t h e y m e a n t t o se l l me empty c a s k s .
But when I went in, I was led through several gateways in t h e l a r ge garden i n to a t ea - r o o m at
t h e i n n e r mo s t p a r t .
S o o n M a d e m o is e lle s c a m e . Then the master came.
I w a s e n t e r t a i n e d w i t h t e a a n d c a k e s . W e l l , I w a s g i v e n t h e s e b u n s . T a s t e o n e . T: K: T: K: K: T:
14
Tasuke: O h , I t l o o k s n i c e . I'll have one. ( B e g i n s t o e a t a b u n . )
Kyusuke: A n d t h e m a s t e r s a i d " K e g - c o l l e c t o r .
I have something to ask you.
P l e a s e g r a n t m y w i s h e s . "
T h u s s a y i n g t h e m a s t e r o f F u j i n o y a w h o is p e r m i t t e d
to wear a sword made a bow t o me.
T : K:
An;d what did he ask you?
W e l l , --- the M a d e m o i s e l l e s from behind
t h e f e n c e s a w us e v e r y day when we t a l k e d about all s o r t s o f t o p i c s at the t e a - k i o s k at Y otsume, and she i s q u i t e a t t a c h e d t o you, the maste r s a i d .
T : Wha t?
K: And she says she wished to marry you by a l l means,
and she asked me to a c t as a g o-b et we en. Tasuke! Y o u l u c k h a s t u r n e d ,
h a s n ' t i t ?
Tasuke: And no ki dd in g?
Kyusuke: A b s o l u t e l y n o k i d d i n g .
The master and mad em ois ell e asked me q u i t e s e r i o u s l y . I t h o u g h t n o b e t t e r l u c k
could be found throughout Japan, so I s a i d O K .
K:
T: Dear Kyusuke!
I a p p r e c i a t e your kindness, but p l ease ask her t o be excused. ( G o i n g . )
O h , T a s u k e ! P l e a s e w a i t ! ---Why do you want to be excused?
I ’ l l answer your q u e s t i o n
---C a n th e M ad em o is elle s g et u p e ar ly in the
morning and prepare food and wash clothes?
She has been brought up with a l l tenderness.
How ca n she do such a thing ?
Then I can't say yes. (Going a g a i n . )
O! o ! W
a i t ! Wa i t !
Any other business?
S h e can’ t do such things, but she can do any other
thing.
T h e n w il l s h e go o u t w ith a bean pastte
b
a
sket i n her hand to buy things cheap?
Nonsense!
She has grown up knowing nothing of the w o r l d .
She knows nothing about
"Cheap and h i g h . "
How can you expect her to do such things.
That's why I can't say yes.
( G o i n g a g a i n . )
Wait!
Wa i t ! ( T a s u k e s t ops.)
T
h
o
u
g
h
she c a n 't do such thing s ,
there are l o t s of things she can do.
15 -K: T: K: T: K: T: Kyusuke: Tasuke: K:
16
Then can she make f u e l s ?
A t n i g h t she must sometimes shampoo my sh o u l d er s Shut up !
How can you l e t h e r do such a t hing when she has s o f t , m a p l e - l e a f - l i k e hands.
Remember, she was born in the most c e l e b r a t e d f a m i l y in Honjo. S o I c a n ' t say y e s . ( G o i n g a g a i n . ) Oh, wa i t ! P l e a s e w a i t ! Ta suke! you a r e t o o q u i c k - t e m p e re d . T h e m a t t e r i s s i m p l e enough. P l e a s e r e f u s e h e r o f f e r .
The p r o v e r b g oe s : cow to cow and horse to h o r s e . I f a p o o r m a n l i k e m e s h o u l d g e t a w i f e
from such a c e l e b r a t e d f a m i l y , i t would s u r ely be an i l l - a s s o r t e d m a r r i a g e .
I t may be s o , but t h e r e w i l l be some m e a s u r e ----N o , I w o n ' t . I d e f i n i t e l y w o n ' t .
(He says these words abr u p t l y and g e t s i nto the house a nd shuts th e d o or . )
( A t a l o s s )
Hey, Ta su k e! Ta s u k e ! --- Oh, what s h a l l I do? ( A s o u n d o f b e l l . S t a g e r e v o l v e s . ) T: K: T: K: T: K:
T:
K:1
S c e n e - I V
Tea-ceremony house o f the F u j i n o y a ’ s, a g a i n . Lamps ana l a n t e r n s are l i t . Mokuzaemon’ s Yokyoku r e c i t a t i o n , as w e l l as O-Hana’ s hand-drum, can be heard through the round window.
A Pause.
Soon O-Kane, the maid, shows Kyuhachi i n t o the room s a y i n g : "W e l l , s i r , the m a s t e r ’ s b een w a i t i n g f o r y o u . ” Kyuhachi l o o k s embarrassed. Kane: Kyu: Moku: Kyu: Moku: Kane: Kyu:
Step i n , p l e a s e . The m a s t e r ’ s coming soon. W e l l , w e l l , y e s ---. ( Si t s i n a c o r n e r , l o o k i n g much b e w i l d e r e d )
(O-Kane r e t i r e s . Soon the sound o f the r e - c i t a t i o n and the drum c e a s e s , and Mokuzaemon comes in f o l l o wed by O-Kane. )
Oh, s o r r y to have kept you w a i t i n g , Mr. Kyuhachi. ( S i t s down.)
W e l l , s o r r y to have t r oubled you. W e l l , I ’ m g i v i n g you back the bean-jam bun you gave me. What do you mean?
Was i t sour?
Oh, no. I t was v e r y n i c e , I had one more m y s e l f . Two i n a l l , you know. Excuse me p l e a s e .
Moku: Kyu: Kane: Kyu: Moku: Kyu: Moku: Hana: Kyu: Moku: Kyu: Moku : Kyu: Moku: Kyu: Moku: 2 -W e l l , i s Mr. Ta suke --- . W e l l , s i r , w e l l ---.
( O-Hana peeps a t the round window.)
You s a i d o n l y sometime ago th at h e ' l l be mad w ith j o y .
(More embarrassed) W e l l , I was mistaken. Then, does he mean t o --- .
He does. He means to r e f u s e t h i s .
Why ----.
(B u r s ts i n t o t e a r s at t h e w in do w .) I ' m so s o r r y . (Squats and t r e m b l e s . ) ( A pau se. )
W e l l , Mr. Kyuhachi, don’ t you hear her v o i c e ? You proposed only some time ago to go between him and he r and now you j u s t r e f u s e .
I ’ m r e a l l y s o r r y about i t . I t ’ s a shame f o r me to come back a f t e r what I s a i d , but I have come to bear w i t n e s s t h a t I ’ m not to blame and t o r e t u r n your buns . Excuse me, p l e a s e .
I won' t .
What d o you say?
You said t h a t y o u ’ d be hanged i f you c o u l d n ’ t persuade him.
W e l l , y e s .
It is such a disgrace for the family that I ’ve been put to this shame.
I'll just get your head and commit a happy despatch myself. Sit upright here.
(Thrusts the floor with his sword.) Oh, help.
(Starts and makes to the garden.) --- Dark Change. —
3
4
S C E N E - V
S p e c t a t o r ' s H a l l .
(Kyuhachi comes i n t o the s p e c t a t o r ' s h a l l , f o l l o w e d by the s p o t - l i g h t . )
Kyu: H e r e ’ s a how-do-do. I s n ’ t t h e r e a n y t h i n g n i c e t o do? Haven’ t you g o t any i d e a ? (Asks the audience whi le g o i n g to the d i r e c t o r ’ s room) T e l l me what to
do, p l e a s e , (To a s p e c t a t o r ) Haven’ t you g o t any i d e a t o cut my way through? Any ide a?
(Meantime Kyuhachi walks between the 1s t and 2nd c l a s s to the s t a g e passage. One gentleman
add re ss e s him.)
Gentleman: Mr. K e g - c o l l e c t o r
---Kyu: Oh, have you g o t any ide a? T e l l me what i t i s , p l e a s e .
Gentleman: This i s i t .
(He w h i sp e r s something in Ky u ha ch i' s e a r s . )
Kyu: Thank you v e r y much. You’ ve saved me.
- 5 -
Scene VI
(Shabby house o f O- Kame's near Kameido. A Buddhist
stupa on the r i g h t . A w e l l - a c l o t h e s d r y e r on the l e f t . a narrow doorway back l e f t .
Here O-Kame and her l i t t l e son make a bare l i v i n g supported by Ta suke.
An a f t e r n o o n some days a f t e r the l a s t s c e n e . I t i s r a i n i n g . The sound o f a wooden gong can be he ar d from the r i g h t .
As the c u r t a i n r i s e s , O-Kame s i t s on the bed s u f f e r i n g from a f i t o f spasm. Shimataro i s b o i l i n g herb f o r h i s
mother. The b a l l a d " Yo iy a m ac hi " can be heard a t i n t e r v a l s o f the r a i n . A l o n g p a u s e . ) Shimataro : Kame: Shima : Kame: Shima:
How are you, mother? ( No answer. S u f f e r s . )
Cheer you up a l i t t l e l o n g e r . The medicine w i l l be ready in no t i m e .
(Kyuhachi appears i n t o the s t a g e passage, lo ok s round and i s about t o st e p into the house, when O-Kame c r i e s w i t h p a i n : )
Ouch. Ouch,
The pain a ga in , mother? ( H u r r i e s to and t a k e s care o f h e r . )
6
-Kame: Oh, thanks, de ar .
Shima: Oh, the h e r b - k e t t l e i s b o i l i n g , I ’ d b r i n g i t . ( C a r r i e s the K e t t l e and a cup to h e r . )
Shima: Here, mother.
Kame: Ouch. What a p a i n . ( Su f f e r s mu c h . )
Shima: What' s wrong? Mother, mother, cheer up.
Kame: What a pa in.
Shima ( A n x i o u s ) : I ’ d j u s t run and f e t c h Uncle Tasuke.
Kame: Oh, do n’ t .
Shima: Bu t you s u f f e r so much.
Ka me: H e’ s a busy man. I t won’ t do w o r r y i n g him.
Shima: But y o u ’ l l - -
----Kame: I t ’ s a l l r i g h t . We should have b o th d i e d but f o r h i s Kin dness. We c a n ' t bother him any more.
Shima : But y o u ' l l d i e . I can’ t l i v e i f you d i e .
Kame: Oh, do you t h i n k so much of m e - - - o f such
a bad mother?
Shima: M o t h e r .
Kame: De ar
---(They weep in each o t h e r ’ s a r m s . A pa u se.
Kyuhachi l ooks a t t h e m .)
Kyu: There are pe ople i n t h i s w orl d who pass t h e i rThere are pe ople i n t h i s w orl d who pass t h e i r days e n j o y i n g te a -c er e m on i e s , r e c i t i n g yokyoku and p l a y i n g hand-drum.
- 7 -
Kame :
Shi ma :
As f o r these pe o p l e they, l i v e b l i n d and
l o n e l y when the r a i n p a t t e r on my humble r o o f . There are v a r i e t i e s in human l i v e s .
Oh, I j u s t f o r g o t i t . T h e r e ’ s the d i v i n e herb O-Hyakuso Mr, Tasuke gave me y e s t e r d a y .
Oh , i t ’ s h e r e .
Kame: L e t me take i t . Give me a cup o f w a t e r , dear.
Shima : C e r t a i n l y .
( S h i ma t a r o go es to the w e l l to p u l l w a t e r . Kyuhachi h i d e s hims e l f . Shimat a r o , i s about
to f a l l i n t o the w e l l , when Kyuhachi steps forward and c a t c h e s the c h i l d in h i s arms.)
Kyu: Oh, dangerous. Take c a r e .
Shima: Thank you, u n c l e .
Kame ( S u r p r i s e d ) : I s that your Uncle Tasuke? ( Wooden c l a p p e r . )
Shima: No, He’ s a gentleman I don’ t know.
Kyu: (Seems to be s o r r y f o r them.)
(The c u r t a i n f a l l s w i t h the sound of wooden c l a p p e r s . )
8
-- -- -- -- -- -- ACT I I —
---Scene I
(Thre e weeks l a t e r . An a f t e r n o o n toward the end o f the y e a r . O-Kame' s r e s i d e n c e a g a i n . Some mendings have been made to the house. The f u r n i t u r e , t o o , shows that she i s a l i t t l e b e t t e r o f f now. Some c l o t h e s a re spread on the frame.
As the c u r t a i n r i s e s w i t h a gay music, O- Shig e, a poor h o u s e - w i f e o f the neighbourhood, i s sweeping about the house. O- Kon, another h o u s e - w i f e , a p p e a r s . ) Kon: Shige: Kon: Sh ig e: Ko n : Sh i g e : Ko n : S h i g e : Ko n :
S
hige:
Oh, O-Sh i g e , y o u ' r e w o r k i n g as h a r d .W e l l , O-Kame has gone to the Myoken shr i ne and I ' v e been asked to keep the h o u s e .
You n e e d n ' t f l a t t e r he r her so much. Wh a t do you say?
You mean t o g e t something from the young l a d y . I see i t c l e a r l y .
D o n 't be so i m p o l i t e .
I saw you b e f o r e y e s t e r d a y h e l p her wash the c l o t h e s and g e t money.
Wh y .
Give me the broom. D o n ' t monopolize the good l u c k .
But O-Kame asked me. I have to st a y t i l l she comes back.
9 K o n: Kyu: Hana: Kyu : Hana: Kyu: Kon : Kon: Kyu: Kon:
Don’ t be so o b s t i n e n t . Your husband has come home and c a l l i n g you. Do n ’ t be so g r e e d y and go home.
(O-Kon t ak es the broom by f orce and
t a k e s to sweeping. O-Shige go es out r e l u c t a n t l y O-Hana, accompanied by Kyuha chi, comes in
through the s t a g e pass age . Her c l o t h e s a re pl a i n e r and s i m p l e r . )
Now, Miss O-Hana, i t ’ s t h r e e weeks sinc e y o u ’ ve come to take care o f h i s aunt. Take courage and ca t ch him,
We l l , I f e e l shy, Mr. K e g - c o l l e c t o r .
to the Myoken s h r i n e . I keep the house f o r h e r .
Thanks f o r your t r o u b l e . How th at my n i e c e has come, you needn’ t s t a y . Thank you.
May I go? Bu t — --you s e e - ---- i t was so d i r t y he re and I ’ ve c l e a n e d a l l about the h o u s e .
Mr. K e g - c o l l e c t o r ? Say Unc1e . Oh, I should, o f course.
L e t ’ s h u r r y . (They reach the d o o r w a y .) Oh, young l a d y .
Good day. I s Mr s . O-Kame out?
Oh, she f e e l s much b e t t e r today and has g one Hana:
10
-Kyu: I know, I know. (Takes out some money)
I t ' s v e r y l i t t l e , but i t ’ s f o r you..
Kon: Am I g e t t i n g i t a g a i n ? Oh, many thanks.
(O-Kon goes out, l a u g h i n g f l a t t e r i n g l y . )
Kyu: Now, y o u ’ re to d i s p l a y your a b i l i t y .
I have a hunch t h a t Tasuke w i l l come here t od a y .
Hana : Oh, i s he coming here?
Kyu: He’ s been to Kazusa to l a y in a s t o c k o f
c h a r c o a l . But I ’ ve heard he came back to Ed o y e s t e r d a y .
Hana: Wh a t s h a l l I do?
K y u : Oh, don’ t blush so much.
Hana: Wh a t am I to do? T e l l me what to do, Mr. Keg-
c o l l e c t o r .
Kyu: Mr. K e g - c o l l e c t o r again? Y o u ’ re my n i e c e , you see.
Hana: Oh, I s e e .
Kyu: We l l , when he comes, put you r hands b e f o r e
your knees and say "Welcome s i r " ( m i m i c s . ) Hana ( i m i t a t e s ) : Welcome, s i r .
Kyu : T h a t ’ s i t . Then you b r i n g a b r a z i e r and a tobacco t r a y . Then you make t e a .
( O-Hana makes g e s t u r e s . )
Then h e ' l l ask who t h i s charming g i r l i s . We l l , then, y o u ’ l l peep i n t o h i s fa c e and say
11
Ha n a :
a n i e c e o f K y u h a c h i ' s . I ’ m abashe d.
Kyu: You needn’ t be. This i s what i s c a l l e d a
m arr ia ge i n t e r v i e w . Any guy w i l l be
charmed i f you g l a n c e at him w i t h your c l e a r e y e s .
Hana: Don’ t , u n c l e .
Kyu: Ha-ha-ha. W e l l , a f t e r t h a t , y o u ’ l l j u s t
Hana:
b o i l r i c e , wash t h i n g s and ma ssage O-Kame, He cannot h e l p w i s h i n g you f o r w i f e .
Oh---(O-Kame comes i n , l e d by S hi m ata ro . )
Shima: Oh, s i s t e r K e g - c o l l e c t o r . W h en d i d you come?
Hana: Oh, h e l l o ,
Kame: Oh, Miss O-Hana.
Hana ( do ing as t o l d by K y u h a c h i ) : Oh, welcome. (Bows)
Kyu: That’s i t .
Kame: Oh, a r e you h e r e , t o o , Mr. K e g - d e a l e r ? Thank you f o r your k i n d n e s s .
Kyu: Don’ t mention i t . And how are your eyes?
Kame: I ' v e become b e t t e r thanks to O-Hana's medicine.
I t h i n k I see t h i n g s , though v e r y v a g u e l y .
12
Hana: That reminds me. I t ’ s time you take another
doze. ( G i v e s him a doze o f medicine w ith a cup o f w a t e r . ) Here, Mrs. O-Kame. I t ’ s the usual m e d i c i n e . Take i t , p l e a s e .
Kame: Oh, thank you. Thank you v e r y much.
O-Ha n a ' s kindness reminds me of O- E : - - - - Wh o ’ s O-Ei?
My dau ghter.
What happened to her?
We l l , I beg you to l i s t e n to me f o r a time. O- E i ; was my on ly d a u g h t e r --- whom I married t o Tasuke, her c o u s i n . Wel l , i t ’ s my shame, but I te a se d him out o f the house and then
fo r c e d her to marry another man. Heaven
punished i t and a f i r e s t a r t e d on the wedding day. O- E i , as w e l l as her new husband, was devoured by the h o u s e - h o r s e --- I became b l i n d and wandered abo ut. Then I was saved by Tasuke, my o l d enemy.
W e l l , Mr, K e g c o l l e c t o r Tasuke i s a s a i n t -a god or -a buddh-a---to h-ave been so kind to me and my son, when I was so harsh w i t h him.
(B u r s ts i n t o t e a r s . ) Hana:
Kame: Kyu: Kame:
13
K y u : Kame: Kyu: Kame: Kyu: Hana: Kyu: Shimataro: Kame:H e ' s a b i g m a n ----T h i s young l a d y ---I mean, O-Hana, i s d e e p l y moved by h e r .
As f o r me--- i t ' s my duty t o recommend him a b e t t e r w i f e than O-Ei and r e v i v e the Sh i o b a r a f a m i l y . Just imagine what I f e e l , Mr . Keg- c o l l e c t or.
Oh, I know, I know. I t ’ s my duty as h i s f r i e n d , t o o , to g e t a good w i f e f o r him. I ' l l do s o f o r you, M r s. O-Kame.
Oh, I 'd be so happy.
(The time-bel l t e l l s f i v e . O-Hana g e t s ready f o r supper wi p i n g t e a r s . )
T h a t ' s f i v e o ' c l o c k . Now, O-Hana, I ' m to go to the shop Kazusaya b e f o r e i t g e t s d a r k . Y o u 'd b e t t e r g e t rea dy f o r supper as us u al .
Be back soon, u n c l e .
Don't be so c h i l d i s h . Ha- h a - h a .
(Kyuhachi goes out. A song i s heard behind
the s t a g e . )
May I go and p l a y f o r a w h i l e , mother? You may, but be back b e f o r e i t g e t s dark.
O.K .
(Shimataro goes o u t . Soon Tasuke comes in through the st a ge - p a ss a g e bearing an empty b a s k e t .
Tasuke Tasuke Kame: Hana: Tasuke: Kame : Tasuke: Kame: Tasuke: Hana: Tasuke: Kame: Hana: Tasu: Hana:
( a t the p a s s a g e ) : I ' v e been away f o r a long t i m e , I hope aunt i s a l l r i g h t , )
( a t the d o or w a y ): Are you a l l r i g h t , aunt? Y o u ' r e Tasuke?
( I s f r i g h t e n e d , )
I ' m s o r r y I ' v e been away f o r a long time, (S t e p s i n . )
S i t h e r e , w i l l you? I ' m g e t t i n g b e t t e r and bet t er , thank y o u .
I ' m g l a d to hear i t . Oh, the house has become v e r y t i d y .
Mr. K e g - c o l l e c t o r 's n i e c e h e l p s me ev er y d a y . Oh, does she? I t ' s v e r y ki n d o f h e r .
( S i t s down) We l l , I had to go, because the master o f Yamaguchiya had something to pr ev en t him
from going h i msel f .
(O-Hana o f f e r s Tasuke a b r a z i e r and a cup o f t e a ) Welcome, s i r . A cup o f t e a , p l e a s e .
We l l , i t ' s the f i r s t time people o f f e r me t e a in t h i s house. Who's she, aunt?
The n i e c e o f Mr. K e g - c o l l e c t o r s ' . I ' m a s i l l y g i r l named O-Hana.
So you are K y u h a c h i ' s n i e c e . Thank you f o r your k i n d n e s s - -
---Oh, no. Remember me, p l e a s e . 14
15 -Kame: Tasu: Hana: Hana: Tasu : Hana: Two : Tas u: Kame: Kyu: Tasu: da u gh te r. I ’ m so g r a t e f u l . Oh, i s she? Thank you, m i s s .
Don’ t mention i t , p l e a s e . (She g e t s shy and awkward and s p i l l s the t e a on the f l o o r . ) I ’ m so s o r r y .
Don’ t w o r ry . I ’ l l wipe i t .
(He i s about to take the h o u s e - c l o t h I ’ 11 do i t .
(They l o o k a t each o t h e r . ( Laugh c o n q u e t i s h l y . ) ( A pause.
Soon Kyuhachi comes back. N o t i c i n g that Tasuke i s t h e r e , he peeps a t the doo r . O-Hana takes to p r e p a r i n g f o r supper. )
We l l , aunt,, I ’ ve go t something t o p l e a s e you t o d a y . I ’ ve been r a t h e r successful in my t ra d e 50 th at the master o f Yamaguchiya proposes me to s e t me up in b u s i n e s s . I ’ m to s t a r t a l i t t l e shop on the main s t r e e t .
I ’ m g l a d to hear i t .
Oh, I ’ m so g l a d to hear i t . ( S t e p s i n . )
Oh, Mr. Kyuhachi. Y ou ’ ve been always so k i n d -S h e 's so good and k i n d --- b e t t e r even my own
1
6
-Kyu : Tasu: Tasu: Kyu: Tasu: Ky u : Tasu: K y u : Tasu: Kyu: Ta su: Kame:Y ou ’ l l do me the same t h i n g , I 'm sure. W e l l , you h ave beaten me, Ta suke, f o r we
once promised to compete in b e i n g e s t a b l i s h e d in our own l i t t l e shops.
N ow I remember. But i t ’ s on ly th at I ’ ve been a l i t t l e l u c k i e r than you.
I ’ m v e r y g l a d , anyway. But, now th at y o u ’ re to be s e t t l e d in a f i v e shop, something i s l a c k i n g , I ’ m a f r a i d .
Wha t’s l acking.
You know, of course. I don’ t ,
Don’ t pr et en d not t o know. R e a l l y , I don’ t know.
How i r r i t a t i n g you a r e .
You are i r r i t a t i n g . Out w i th i t , Ky u ha ch i. You have to un derstand . There i s a f i n e
shop--th er e i s a f i n e m a s t e r ---- w e l l , shop--then, i t ’ s on ly p r o p e r that ther e i s a f i n e m i s t r e s s o f the h o u s e .
Wel l ---maybe.
Mr. K e g - c o l l e c t o r has a good reaso n t o say so. I w is h you would g e t a good w i f e and r e v i v e the Shiobara f a m i l y .
17
Tasu: But t h e r e ’ s no g i r l who would marry me.
Kyu: Don't say so. That daughter o f the mas te r of
F u j i n o y a .
Tasu : Never happ e n , She c a n ' t keep house.
Kyu: W i l l you marry her i f she has l e a r n e d how to?
Tasu: No, Fi n e young l a d i e s o f th ose b i g ho us es ----they c a n ’ t .
Kyu : I see. W e l l , then, Tasuke, w i l l you take
t h i s n i e c e o f mine?
Tasu: Oh, what?
Kame: I t ’ s a good i d e a , Mr. K e g - c o l l e c t o r .
W e l l , Tasuke, t h i s young g i r l h e re can b o i l r i c e , wash c l o t h e s , go marketing and even m as sa g e- ----— Y ou ’ l l be so happy i f s h e’ l l marry you.
Tasuke: ( I s moved.)
Kyu : W i l l you?
Kame : I b e t s h e ’ l l make a good w i f e f o r you.
Tasu: (No a n sw er .)
Kyu: Now, Tasuke, be a man and answer c l e a r l y ,
Ta su: W e l l — --but--- I ' m shy , you k n ow -- — I can ’ t
(He seems to have taken fa n c y t o h e r . ) Kyu: I t ’ s a l l r i g h t . (V er y l o u d . )
Kame: Oh, you f r i g h t e n me. But, Ky u ha ch i;
18 Kyu: Tasu: Kame : Kyu: Hana: Kyu:
You mean O-Hana? She' s l o n g been i n ---What?
(G e t s su r p r i se d , .)
I s n ' t , i t so, Miss O-Hana? ( Wooden c l a p p e r s . )
Oh, u n c le , - - - - (Seems b a s h f u l . )
(Takes O-Hana in h i s arms and r e j o i c e s . ) (The shishimai music i s heard g a y l y , as the
- 19
-Scene I I
(Kyuhachi appears b e f o r e the c u r t a i n and a dd r e ss e s the a u d i e n c e . )
Kyu: W e ll , l a d i e s and g e n t l e m e n . Tasuke and
O-Hana a r e g o i n g t o be m ar r ie d so on, thanks to you. Thank you a ga in f o r your good s u g g e s t i o n . W e l l , the good r e s u l t comes from the f a c t that those two young pe op le l o v e d each o t h e r h e a r t to h e a r t .
We l l , t h i s month, March, i s the month o f the d o l l ’ s f e s t i v a l . You must have your
h i n a ( d o l l s ) d i s p l a y e d a t your houses.
Those two d o l l s . " l o r d - d o l l . " and " l a d y - d o l l " , s i t c l o s e by each o t h e r on the stand.
I t ' s not o n l y the be au ty in f i g u r e s that they s y m b o l i z e ----i t i s the c o n j u g a l harmony. We ll, I see many p r e t t y young l a d i e s among you, l a d i e s and g en t le m e n . I ’ m sure t h e y ’ re e x p e c t i n g good husbands to come to g e t t h e i r hands. W e l l , young l a d i e s , be v e r y c a r e f u l in your ch o i ce and marry the ones you can r e a l ly l o v e . T h a t ’ s the way to make good homes and c o n t r i b u t e to the r e c o n s t r u c t i o n o f Japan.
- 20
-Oh, I t may have been to forward o f me, a ke g- c o l l e c t o r , to i n t e r f e r e w i t h such a t h i n g , but I ' m so happy about Tasuke and O-Hana, t h a t I c a n ’ t keep s i l e n t . W e l l , I ’ l l put an end to my s i l l y t a l k ---- Good luck, e v e r y b o d y ---(Ret i r e s )
