Godairiki Koi no Fūjime (Edo han) – The Five Great Powers that Secure Love (Edo version)

「五大力恋緘」（ごだいりきこいのふうじめ)（江戸版）

Written by Namiki Gohei I (1747-1808) Adapted and produced for the Edo stage by the Kabuki playwright Tsuruya Nanboku IV (1755-1829) in the autumn of 1794 http://www.kabuki21.com/godairiki.php

Though not stated in the text the following may be an opening chant for the play…

艷陽婀娜曲輪對面艷陽婀娜曲輪對面艷陽婀娜曲輪對面艷陽婀娜曲輪對面 Enyō Ada Kuruwa Taimen

Summer Seductress - Licensed Quarter Encounter

東呉繋万里船富岡初曙其風流をうたひしは浪花夕霧文吾嬬秋色櫻西嶺含千秋雪中町着初其鞘

割ときこえしは薩摩源五兵衞笹野三五兵衞武藏野の開きあふ御惠みは筑波山の影よりもしげ

く大通と呼ぶ色男力だめしの虎ケ石固めはしゃんと津の國住吉、抑々奧の院に五大力明王と

申奉るは千話のやりくり口舌のひぞり又はしみ％＼思ひ參らせ候かしく其玉章の封目にかく

とだに縁につるれば團三郎が濡事鬼王は初會工藤は二度目の狩場の約束兄弟が無念は五つや

三つの頃は彌生の花の下女藝者の俳諧師身替りの去状は八幡が仁義近江が釋教戀は曲者寶の

盜賊三味線かひこんだ詮議の合の手彈けや清掻吉原細見名所名物すぐれし御國の

Higashi kure kei banri bune Tomioka hatsu akebono Sore fūryū o utai shi wa Naniwa yūgiri Bungo ozuma shūshoku sakura Nishimine fuku Senshū(1) setsuchū chō kizo Shi saya waru toki koe shi wa Satsuma Gengobei Sasano Sangobei Musashino no hiraki afu o megumi wa Tsukuba yama no kage yori mo Shi geku oo tsū to yobu iro Otoko chikara da meshi no tora Gaishi katame wa Sha n to tsu no kuni Sumiyoshi, Somosomo oku no ni Godairiki Myōō to saru tatematsuru wa Sen wa no yarikuri kuzetsu no hizo ri mata wa Shimijimi omoi san ra se sōrō kashiku Sono gyokushō no fū moku ni kaku To dani en ni tsuru re ba Danzaburō ga nuregoto Onio Hatsu e Kudō wa nidome kariba no yakusoku keitei ga munen wa Itsutsu ya mitsu no koro wa Yayoi no hana no gejo geisha no haikaishi mi kawari no sa jō wa Hachiman ga jingi Ōmi ga Shakukyō Koi wa kusemono takara no tō zoku shamisen Kahi kon da sengi no ainote hajike ya sugagaki Yoshiwara saiken nadokoro meibutsu sugure shi mikuni no (1) Senshū when spoken can also mean an anthology

A stirring in the east, a boat far away, There the first dawn at Tomioka(1) Spoken of by an elegant songstress’s poetry Evening mist over Osaka(2), Autumn scenery at Bungo(3), cherry blossoms encircle Nishimine(4) For a thousand years(see (1) in the romaji section above), a village built, The poem speaks of a sword scabbard, broken the first time worn Satsuma Gengobei(5) Sasano Sangobei(6) A Musashino village(7), a father’s honourable blessing Furthermore, from the shadow of Tsukuba Mountain(8) The poem’s last part, with great authority, Invokes a strong lover’s tiger like passion Many stones strengthen a bridge In the realm of Sumiyoshi(9), at a house in the harbour, Inside a temple, offerings to Godairiki Myōō(10) begin, A thousand curtain’s tales are made, The priests teachings pause, many earnestly bestowed blessings, Contained in letters, respectfully yours, An excellent composition, completed with the stroke of a kanji, Which may even tempt and bring Danzaburō(11) to a love scene in Onio(12), First meeting Kudō, the second, a hunting ground assignation(13), A siblings regret, five times and and thrice regarded Yayoi the flower maid, a geisha’s servant A writer of humorous poetry, she leaves exchanges of correspondence about Hachiman’s(14) moral code, Ōmi ‘s(16) Buddhist compassion A villain’s treasure, a thief’s shamisen(16) An interlude improvised, moral choices considered A close examination of the excellent specialities of that famous place, the Yoshiwara(17) A kingdom of poetry... (1) 富岡 Tomioka, Fukushima Prefecture, famous for its cherry blossoms (2) Naniwa – the old name for Ōsaka (3) 文吾 Bungo, Oita prefecture 大分. This may allude to Bungo bushi, a type of music played for a Kabuki chant, or jōruri, for plays which deal with love suicides and love affairs. It was banned by Edo magistrates as it was deemed detrimental to public order, the supscion being that it was inspiring real love suicides (4) 西嶺 Nishimine, west peak of Yufu mountain 由布岳 in Oita prefecture (5) 薩摩源五兵衞 Satsuma Gengobei (a samurai in love with Koman) (6) 笹野三五兵衞 Sasano Sangobei (an evil samurai who lusts after Koman) (7) 武藏野の開き Musashino no hiraki. Hiraki is Kanazawa dialect for a generic term, shinden, which means land marked out for reclamation and in this text refers to a village built on reclaimed land, a Musashino shinden kaihatsu, land reclamation in conjunction with village building http://publishing.cdlib.org/ucpressebooks/view?docId=ft2m3nb148&chunk.id=nsd0e2741&toc.id=endnotes&brand=ucpress (8) 筑波山 Tsukuba Yama, one of the most famous mountains in Japan (9) Sumiyoshi 住吉, formerly known as Suminoe no Tsu 住吉津, the oldest port in Japan (10) Buddhist Wisdom King of Five Great Powers. The Temple of the Five Great Power Bodhisattvas at Sumiyoshi (Sumiyoshi Godairiki) http://educators.mfa.org/objects/detail/321547?related_people_text=Ishikawaya+Wasuke+%28Ishiwa%29&page=4 (11) Danzaburō, Ichikawa Danzō III http://www.kabuki21.com/danzo3.php (12) Oniō Shinzaemon, a role specialised in by Ichikawa Danzō III, who, during his lifetime, appeared in the same role in three plays related to the Soga brothers (13) Kudō, and a hunting ground assignation - References to the Soga brothers and Kudō Suketsune, the killer of their father, and a later attempt at revenge during a hunt on the slopes of Mt. Fuji http://www.kabuki21.com/soga_monogatari.php (14) 八幡 Hachiman, the Japanese God of war, and in this context probably refers to Hachiman Taro Yoshiie (Minamoto Yoshiie), who exemplified the ideal samurai through his leadership and military prowess (15) 近江 Ōmi, possibly a reference to Shinran (the great grandson of Minamoto Yoshiie and founder of Jōdo Shinshū), the Kinshokuji Temple at Kibe in Ōmi prefecture and Shinran’s dream of Prince Shōtoku as Avalokiteśvara, the Bodhisattva of Compassion (16) ‘a thief’s shamisen’ is possibly a reference to the shamisen on which the geisha Koman writes her dedication, at first to Satsuma Gengobei, and then to Sasano Sangobei Note: There are many references in the this passage to places mentioned in the Manyoshu 万葉集, ‘Collection of Ten Thousand Leaves’; the oldest existing collection of Japanese Poetry

五大力戀緘四里四方四番續 - Godairiki Koi no Fūjime shiri shiho shizaman kō The Five Great Powers that Secure Love - shiri shiho (Edo era expression - within a radius of four ri) shizaman kō (four times succeed)

表のカタリは「五大力戀緘」初演の時の番附から取つたものである。この時にはまだ、二番

目が別名題にならず、「江戸砂子慶曾我」（えどすなごきちれいそが）の一本名題の中に包

含されてゐたのでカタリも曾我狂言と共通になつてゐる。

Omote no katari wa “Godairiki Koi no Fūjime” shoen no toki no banzuke karatori tsuta mono de aru. Kono toki ni mada, nibanme ga betsumei dai ni nara zu, “Edo Sunago Kichirei Soga” no ippon nadai no naka ni hōgan sarete ita no de katari mo Soga kyōgen to kyōtsū ni natsu te iru. The printed playbill (banzuke) advertising the first performance of “The Five Great Powers that Secure Love” was circulated to a tumultuous welcome. It was a fact that on this occasion, as yet, this was the second play in a series dealing with the ‘scoundrel’ as its subject matter; “The Gilded and Auspicious Soga in Edo” being one version which was, by leading actor’s, included in the uncompromising Soga drama repertoire commonly performed in the summer. 下掲の寫眞は、大正八年十月、帝國劇場でこの狂言を演じた時の寫眞で、この時は宗十郎が

お家の源五兵衞に扮し、幸四郎の三五兵衞、故宗之助の小万といふ役割であつ。 Shita kei no shashin wa, Taishō 8 nen 10 getsu, Teikoku Gekijō de kono kyōgen o en shita toki no shashin de, kono toki ha Sōjūrō ga ouchi no Gengobei ni funshi, Kōshirō no Sangobei, ko Sōnosuke no Koman toiu yakuwari de atsu ta. The photograph of the play below was taken in October 1919 at the Imperial Theatre (Teigeki) and on this occasion the troupe’s Sōjūrō played Gengobei, Kōshirō played Sangobei, and the late Sōnosuke played Koman. 大詰、花屋の場へ插入した錦繪は、宗十郎が再演の折ので、いかにも面白く描けてゐる。ま

た中木場の場へ入れたのは、宗十郎の子の源之助が、初役で扮した時の發行である。筆者は

共に初代歌川豐國。 Oodume, hanaya no ba e sashikomu shita nishiki-eha, Sōjūrō ga saien no ori no de, ikanimo omoshiroku e ga kete iru. Mata Naka Ko Ba no Ba e ire tano wa, Sōjūrō no ko no Gennosuke ga, hatsuyaku de fun shita toki no hatsukō de aru. Hisshawa domo ni shodai Utagawa Toyokuni. Lastly an interesting painting, a woodblock print, showing the Flower shop scene featuring Sōjūrō, is shown from another performance. Also shown is Sōjūrō’s son Gennosuke in his first role appearing in the amusing Naka Ko Ba no Ba scene*; ascribed to Utagawa Toyokuni. * Note: this is the fifth act of Godairiki and is also similar to the fifth act 木場仕返しの場 Koba Shikaeshi no Ba of the play 盟三五大切（かみかけてさんごたいせつ）Kamikakete Sango Taisetsu - A Pledge of Love to Sango, by Namboku Tsuruya IV which was first staged in 1825, thirteen years after Namiki Gohei’s death. There is a marked similarity between this play and Godairiki both of which were loosely based on the same mass murder of five people in 1737 in the Sonezaki Shinchi Licensed Pleasure Quarter in Osaka but whereas Sango Taisetsu is linked into the Chusingura story Godairiki is linked to the story of the Soga vendetta. See… http://ir.lib.hiroshima-u.ac.jp/metadb/up/kiyo/AN00090146/kokubungakukou_146_15.pdf

五大力戀緘Godairiki Koi no Fūjime – The Five Great Powers that Secure Love

序幕 Jomaku Prologue 洲崎升屋の場 Susaki Masuya no Ba

Cast list 役名＝＝薩摩源五兵衞 Yakumei = Satsuma Gengobei (a samurai in love with Koman) 笹野三五兵衞。 Sasano Sangobei (an evil samurai who lusts after Koman) 千島千太(郎) Sentō Sentarō 近習、市塚左十郎。 Kinshū (attendant), Ichizuka Sajūrō 同、安松伊平太 Dō (same), Yasumatsu Ibeita 玉木東作 Tamaki Tōsaku 賤ケ谷伴右衞門 Igayatani Banemon 出石宅左衞門。 Izushi Takuzaemon 升屋才兵衞 Masuya Saibei 料理人、喜兵衞 Ryōrijin (chef), Kihei 下女、おとわ。 Gejo (maid servant), Otowa 同、おちよ Dō (same), Ochiyo 藝者、淺香 Geisha, Asaka 同、久米吉、 Dō (same), Kumekichi 男藝者鶴次 Dan (male) geisha Tsuruji 同、龜吉 Dō (same), Kakichi 同澤吉

Dō (same), Kawakichi 升屋娘、おこの Masuya musume (daughter), Okono 廻し男、彌助。 Mawashi otoko (loincloth man), Yasuke 下部、土手平 Shimobe (servant), Dotebira 櫻屋の小万 Sakuraya no Koman (a geisha in love with Satsuma Gengobei but who is being tricked and forced into a relationship with the evil samurai Sasano Sangobei) --- 本舞臺、honbudai The main stage 洲崎升屋の表のかゝり、 Susaki Masuya no omote no kakari Person in charge of the front of house at the Susaki Masuya Note: Susaki is a district in Tokyo 物數寄したる中門、 Monozuki shitaru chūmōn A delightful and strikingly novel central gate 客路地、kyaku (guest) roji (path through a garden) The guest’s path through the garden 磨き葭の腰垣、 Migaki ashi no koshigaki A waist high fence made of polished reeds これに升屋と記したる角行燈を掛け、 Kore ni Masuya to kishitaru kaku gyōtō o kake Within the Masuya is a raised paper lantern with writing on すべて料理茶屋のかゝり。 Subete ryōri chaya no kakari The overall manager of the tea house 幕の内より料理番と肴屋と喧嘩して居る。 Maku no uchi yori ryōriban to Sakanaya to kenka shite oru From behind the curtains the quarrelsome cook of the Sakanaya 若い者三人とりさへて居る。 Kawai mono sannin torisa he teoru Three young people passing through 騒ぎ唄にて幕明く。 Sawagi uta ni te maku aku At the opening of the curtain an uproarious song ---

料理料理料理料理 ryōri (cook)

イヤ(泣)、料簡がならない／＼。 Ia, ryōken ga narana ii A contract (crying voice), an irresistible and excellent decision

皆々皆々皆々皆々minamina (everyone)

マア／＼、待たっしゃい／＼。 Maa maa, mattatassha ii. So so, living in excellent good health

肴屋肴屋肴屋肴屋 Sakanaya (fish restaurant)

イヤ／＼、放した／＼。 Ia ia, hanashi tata. Increasingly a contract is kept.

若一若一若一若一 waka ichi (first youth) イヽサ／＼、おれが呑みこんで居るワ／＼。 Ii sasa, ore ga nomi kon de aru wawa. Excellent� sake, I’m joining the drinking party. 若二若二若二若二 waka ni (second youth) これサ、料理番どの、どうしたものだ。出入りの肴屋を捕へて、何をワッパサッパ云ふのだ

。 Kore sa, ryōriban dono, dōshita mono da.Dehairi no Sakanaya o torae te, Nani o wappa-sappa* iu no da Er, Mr. Cook, what’s that I see going in and out of the Sakanaya? How many circular sardine bento boxes (how much jollity is heard) would you say? *Note: sharé (pun) wappa (round bentwood box used for cooking) sappa (Japanese sardinella). Wappa-sappa is also a Japanese onomatopoeic word for the sounds of jollity あれこれとわめきちらすさま。

料理料理料理料理 ryōri (cook)

イヤサ、今夜は千嶋家のお客がお入りなさるゆゑ、昨日から誂らへて置いた仕込みの肴を、

コレ、もう日が暮れるワ、今時分から持って來て、間に合ふものか。 Iyasa, konya wa Chishima ie no okyaku ga o iri nasaru yue, kinō kara atsurae te oita shikomi no sakana o, kore, kore mō hi ga kureru wa, imajibun kara motteku te, maniau mono ka? Best wishes� �and, being guests of the Chishima residence this evening, please step inside. Yesterday an order was placed stocking up on snacks. Being collected at dusk do you suppose it will be brought back in time? I doubt it!

肴屋肴屋肴屋肴屋Sakanaya (fish restaurant) おれも大事の得意場だから、骨を折って持って來た注文通り。突ツ返されて堪るものか。 Ore mo daiji no tokuiba dakara, kotsu otte mottekuta chūmondoori. Tsu tsu hen sare te tamaru monoka. Though the disorder’s tricky to deal with what’s more important are your customers! So fill the orders as it’s doubtfull we’ll suffer your frequent complaints!

料理料理料理料理 ryōri (cook)

もういらないから返すのだ。 Mō ira nai kara kaesu no da. There’s nothing more to be brought back.

肴屋肴屋肴屋肴屋Sakanaya (fish restaurant)

不漁だからツイ遲くなつたのだ。 Furyō da kara tsui oku natsu no da.

Right now a poor, late summer, catch is expected.

料理料理料理料理 ryōri (cook)

もういらない／＼。 Mō ira nai nai. More ‘ira’* is impossible. *Note: Scarbreast tuskfin

若三若三若三若三 waka san (third youth) マア／＼、さう云はずと、わしに預けさつしゃい。 Maamaa, sau kokoniwa zu to, washi ni azuke satsu shai So� so� nevertheless ask. There may be some wrapped in paper kept somewhere in the house.

料理料理料理料理 ryōri (cook)

否だ／＼。 Iya dada. Well er� this is troubling

皆々皆々皆々皆々 minamina (everyone) マア／＼、ござい／＼。 Maamaa, godai godai. So� so� it is, it is*. *pun, or share, on to exist and five powers of Godairiki Myōō, the Buddhist Wisdom King of Five Great Powers

［ト書［ト書［ト書［ト書 togaki (stage directions)］］］］ ト皆々ト皆々ト皆々ト皆々 to minamina (then everyone)

ワヤ／＼云うて、下の方へ連れて入る。祇園囃子になり、向うより千太郎、着付け羽織袴の

、愚かしき若殿の拵らへ、その後へ近習三人、伴右衞門、三五兵衞、宅左衞門、源五兵衞、

何れも着付け羽織の形、めい／＼奴一人づゝ箱提灯を持ち、花道より出で來る。客路地より

才兵衞、着付け袴の形にて、手燭を持ち、出迎へ、平伏して To Waya waya iu te, shita no hō e tsure te iru. Gion bayashi ni nari, mukau yori Sentarō, kitsuke haori-hakama no, orokashi ki wakatono no koshirae, sono ato e kinshu sannin, Banemon, Sangobei, Takuzaemon, Gengobei, doremo kitsuke haori no kata, meimei yakko hitori dutsu hako-chōchino mochi, hanamichi yori ide kuru. Kyaku roji yori Saibei, kitsuke hakama no katachi ni te, shushoku o mochi, demukae, heifuku shite Then� Everyone speaks, the company enters the downstairs room. Gion Festival music strikes up Move more towards Sentarō whose haori-hakama*the foolish young lord arranges giving what's left to three attendants Banemon, Sangobei, Takuzaemon and Gengobei all appear wearing haori Each servant holds onehako-chōchin** each and approach from the hanamichi*** Through a gate on the guest path comes Saibei wearing an outer hakama garment and holding portable candlesticks, bowing low in welcome * haori - outer coat, hakama – baggy pleated trousers ** a lantern which folds into a box shape *** long raised platform through the audience

才兵才兵才兵才兵 Saibei これは毎度ながらお入り下されまする段、冥加に叶ひ、有り難う存じまする。これよりお通

り遊ばされませう。 Kore wa maido nagara o iri kudasare masuru dan,myōga ni kanai, arigatō zonjimasuru. Kore yori o doori asoba saremaseu.

If you so wish please come along and step inside! May divine blessings always be granted! Thank you! Whatever your wishes may be, if it pleases you, do indulge yourself more.

三五三五三五三五 Sango(bei) 亭主才兵衞、御案内申せ。 Teishū Saibei, o annai saru se. Innkeeper Saibei, now show me around.

才兵才兵才兵才兵 Saibei ヘイ／＼。 Hei hei. Yeah yeah.

三五三五三五三五 Sango(bei) 千太郎さまには、イザ。 Sentarō sama ni wa, iza. Sentarō sama, come along now.

千太千太千太千太 Senta(rō) オヽ、皆來い／＼。 Oo, mina ku ii. Oh, everyone come.

［ト書［ト書［ト書［ト書 togaki (stage directions)］］］］ ト才兵衞先に案内して、千太郎附いて入る。これに續き近習入る。 To Saibei sakini annai shite, Sentarō fuite iru. Kore ni tsuduki kinshū iru. Then� Saibei moves ahead showing people around Sentarō walks up and enters An attendant assists

三五三五三五三五 Sango(bei) 源五兵衞どの、宅左衞門どの、 Gengobei dono, Takuzaemon dono, Mr. Gengobei, Mr. Takuzaemon,

兩人兩人兩人兩人 ryōnin (both people) まづ／＼。 Mazumazu. It’s tolerable.

［ト書［ト書［ト書［ト書 togaki (stage directions) ］］］］ ト互ひに目禮して、三五兵衞、宅左衞門、源五兵衞、段々に路地へ入る。この道具を引いて

取る。本舞臺、三間の間、二重舞臺、見付け一面の腰障子臆病口の方、仕切りのまいら戸、

臺所の體にて、爰に料理番、爼板に向ひ、料理して居る。下男大勢働いて居る。こなたは中

の間の體にて、方々に丸行燈ともし、爰に久米吉、淺香、藝者の拵らへにて、三味線箱にも

たれ、あやを取つて居る。脇に小万も藝者の拵らへにて硯箱を扣へ、行燈にて文を書いて居

おとわ、おちよ、仲居、前垂がけ、銚子を替へに來るて居る。騒ぎ唄にて道具とまる。 To tagai ni mokurei shite, Sangobei, Takuzaemon, Gengobei, dandan ni roji e iru. Kono dōgu o hiite toru. Honbudai, sangendō, nijū budai, mistuke ichi men no koshi shōji okubyō kuchi no be, shikiri no maira to, taidokoro no tai ni te, koko ni ryōriban, manaita ita ni mukai, ryōri shite oru.Genan oozei hanarai ite oru.Konata wa naka no ma no tai ni te, katagata ni maruan tō tomoshi, koko ni Kumekichi, Asaka, geisha no koshira e nit e, shamisen hako ni motare, aya o totsute oru. Waki ni Koman mo geisha no koshira e ni te suzuribako o hikae,

andon ni te fumi o kaite i Otowa, Ochiyo, nakai, maedare gake, chōshi o kae ni te oru. Sawagi uta ni te dōgū tomaru. Then� In silence, bowing to each other, Sangobei, Takuzaemon, Gengobei, gradually enter along the path and through the gate and are permitted entry On the main stage is a two story three ken* length hall fronted with sliding screens Hesitantly moving towards the entrance they come to the door partition In the kitchen’s pavilion is a cook, with a chopping block to one side, cooking. Many servants are working. Here, geishas Kumekichi and Asaka, in a pavilion room in the light of lanterns are making preparations, There is a leaning shamisen case, A figure is fetching something. At one side Koman, also a geisha, arranges and prepares an inkstone, By a standing paper lantern Otowa is sitting down writing, Ochiyo, an apron clad waitress, comes in and replaces a sake decanter. The uproarious singing stops.

* a ken is a measurement used in Japanese architecture; one ken is about the length of a tatami mat

とわとわとわとわ (O)towa サア／＼、久米吉さん、淺香さん、もうどなたも、お出でなされたぞえ。 Saasaa, Kumekichi san, Asaka san, mō donata mo, oide nasareta zoe. Come now, Kumekichi san, Asaka san. Who else!? Please, come!

ちよちよちよちよ (O)chiyo 小万さんも一緒に。 Koman san mo issho ni. Koman san is also with us.

小万小万小万小万 Koman アイ、もう皆お揃ひかえ。 Ai, mō mina osoroi kae. Together, we’ll all go and return soon. ［ト書［ト書［ト書［ト書togaki stage directions］］］］ ト構はず文を書いて居る。 To Kamawazu fumi o kaite oru. Then� Then the letter is casually written

ちよちよちよちよ (O)chiyo こちの旦那さんは、せつかちぢや程に、皆さん、もう拵らへてござんせえ。 Kochi no danna san wa, setsu kara chi ja hodo ni, minasan, mō koshira e te gozan se e. Right now my master is somewhere nearby, everyone, prepare the place quickly!

淺香淺香淺香淺香 Geisha Asaka 久米さん、一緒に行かうぞえ。 Kumekichi san, issho ni kō kau zoe. Kumekichi san, we’ll go together.

久米久米久米久米Kume(kichi)

サア、座敷へ行くは面白いけれど、左十さんの髭で摺りつけらるゝが、否ぢやわいなア。 Saa, zashiki e kō wa omoshiroi keredo, Sajū san no hige de suri tsuke ra ruru ga, hi ja wai na a. Come on now, go the tatami mat room. Although what is interesting is that Sajū(rō) san is rubbing his whiskers examining the itemised bill in minute detail, well er� it will be what it is

�ah. 淺香淺香淺香淺香 Geisha Asaka いっち中で千せんが、可愛らしいなう。 Icchi naka de Sensen ga, kawairashi ina u. Sen(tarō) is left out of the main plan. Now it’s safe.

とわとわとわとわ (O)towa 淺香さん、お前、千さんに氣があるかえ。 Asaka san, omae, Sen san ni ki ga aru kae. Asaka san, you and Sen(tarō) san return to the party.

淺香淺香淺香淺香 Geisha Asaka なんのマア、阿房らしい。 Nan no maa, ahō rashii. What’s this! Phoney idiot!

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト此うちおこの、娘の形にて奧より出で To Ko uchi Okono, musume no katachi ni te oku yori ide. Then� From inside the figure of the girl, Okono, approaches.

このこのこのこの (O)kono おちよもおとわも、どこに居るぞいの。 Ochiyo mo Otowa mo, doko ni oru Now where are they both; Ochiyo and Otowa?

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト皆々を見て To Minamina o mi te Then� Everyone searches

［［［［このこのこのこの (O)kono］］］］ 二人ながら、奧でお手が鳴るわいの... ...これいなア、久米吉さん、淺香さん、お前方も

、ちやつと拵らへて行ておくれいなア。 Ninnin nagara,oku de ote ga naru no... ...kore inaa, Kumekichi san, Asaka san, omae gata mo, chi yatsu to koshira e te kō te okure ina a. The sound of both of them, inside, writing! Not this ah� Kumekichi san, and Asaka san as well, both of you, sort out the journey without delay �ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト此うち久米吉、淺香、鏡袋を出して顏を直して居る。 To Ko uchi Kumekichi, Asaka, kyōdai o deshite kao o naoshite oru. Then� Inside Kumekichi and Asaka take out their mirrored cosmetics cases and start to repair their make-up.

久米久米久米久米 Kume(kichi)

サア、さう思うて、いま顏を直して居るわいなア。 Saa, sae omoute, ima kao o naoshite oru wai naa. Come now, control your insecurity. Now what I’m doing is repairing my make-up �ah.

淺香淺香淺香淺香 Geisha Asaka

小万さんも一緒に、座敷へ行かしゃんせんかえ。 Koman san mo issho ni, zashiki e ika shan sen kae. Together with Koman san, the preference is to go to the house and return to the tatami mat room.

小万小万小万小万 Koman アイ、いまいくけれどわたしやこの文、ちよつと内へ持って行ってもらひたいが、こちの彌

助どんわえ。 Ai, ima iku keredo watashi yako kono fumi, Chiyo tsuto uchi e motte kō tsute mo raita iga, kochi no Yasuke den wae! Let’s go together now! Even though I have written on this instrument* Chiyo, quickly, take this inside and also bring in the unexpected visitor who is coming this way. It’s Yasuke don! *Note: yako - yehu (bowed Chinese instrument with a coconut-shell body)

ちよちよちよちよ (O)chiyo 彌助どんは、先刻大門屋へ行くといって、行かしゃんしたが、戻ってなら、お前に知らさう

わいなア。 Yasuke don wa, senkoku daimon ya e kōku toi tsute, ika sha n shitaga, motte nara, omae ni shira sau waina a. Yasuke don is already making enquiries at the big front gate. If possible you should return without being noticed ah.

小万小万小万小万 Koman エヽ、つんとモウ急な用があるのに、爰に居てくれたがよい。...おちよどん。お前を頼ん

で置く程に、彌助どんが戻らしゃんしたら、この文を渡しておくれえ。 Ee,tsunto mou kyū nayō ga aru no ni, koko ni ite kureta ga yoi. ...Ochiyo don. Omae o ta nde oku hodoni, Yasuke don ga modora sha n shitara, kono fumi o watshita okure e. Bah! If it wasn’t for this sudden unexpected business I need to see to I’d be unconcerned. Staying here is nice... ...Ochiyo don. Whilst Yasuke don is back at the party mmm then you are requested to delay dropping off this letter �eh.

ちよちよちよちよ (O)chiyo アイ／＼、わたしがきつと渡すわいなア。 Aiai, watashi ga kitsu to watasu wa ina a. Agreed, with good luck I have to carry this �ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト文を受取る。 To Fumi o uketoru. Then� The letter is taken.

小万小万小万小万 Koman 急な用ぢや程に、間違はぬ樣に頼むと、云うて渡して下さんせえ。 Kyū yō ja hodo ni, machiga wa nu shō ni tanomu to, iu te watashite shita san se To have asked for a comprehensive outcome would be a mistake. Because of this sudden business shall it be agreed that it’s okay to say that it got ‘left behind’’ �eh?

ちよちよちよちよ (O)chiyo アイ／＼、合點ぢやわいなア。 Aiai, gatten jawai na a. Agreed, it’s what the agreement is �ah.

このこのこのこの (O)kono

サア、皆さん、座敷へ行っておくれんかいなア。 Saa, minasan, zashiki e itte okure n kaina a. Come now, everyone, to the tatami mat room! Isn’t the party’s being delayed �ah¡* * ¡ - indicates sarcasm. ‘kaina’ is a sarcastic question particle in Kansai-ben dialect

小万小万小万小万 Koman アイ／＼、サア、お前方もござんせんか。 Aiai, saa, omae gata mo gozan sen ka. Agreed, come on now, is it also your decision?

久米久米久米久米 Kume(kichi)

小万さん、お前、顏を直さんせぬか。 Koman san, omae, kao o sansenu ka. Koman san, you��your expression� don’t you agree?

小万小万小万小万 Koman わちしゃモウ、此まゝで出ようわいなア。 Wa chishamou, kochi mama de da yō wa ina a. Harrumph� �a wise individual huh? There’s only discord in this direction �ah.

とわとわとわとわ (O)towa どうでも、小万さんは、生地でも目立つわいなア。 Dōdemo, Koman san wa, kiji demo medatsu waina a. Koman san I’m worried about you, you have an honourable disposition but you’re conspicuously careless �ah.

小万小万小万小万 Koman オヤ、馬鹿らしいによ。 Oya, bakarashii ni yo. Oh, that’s absurd!

皆々皆々皆々皆々 minamina everyone サア、ござんせいなア。 Saa, gozanse ina a. Come now, why is that �ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト騒ぎ唄になり、小万先に、皆々奧へ入る。おとわ、おちよ、三味線箱を抱へて入る。おこ

の、後を片付けて、仕切りの戸を明けて To Sawagi uta ni nari. Koman sakini, minamina oku e iru. Otowa, Ochiyo, shamisen hako o kakaete iru. Okono, ato okatadukete, shikiri no to o ake te. Then� An uproarious song is heard. With Koman leading, everyone goes inside. Otowa and Ochiyo go carrying a shamisen box in their arms. Behind, Okono is tidying up, Daybreak appears through the door of the partition.

このこのこのこの (O)kono 喜兵衞、お吸物の支度はよいかや。 Kihei, o suimono no shitake wa yoi ka ya. Kihei, your soup is good well made.

料理料理料理料理 ryōri (manager)

ハイ、ようござりまする。 Hai, you gozarimasuru. Yes, it’s necessary.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト云ふうち献立を見て To Iu uchi kondate o mite Then� Chat amongst yourselves whilst looking at the menu

このこのこのこの (O)kono 御膳までの間に、お屋敷から來た泡盛を出せと、仰しゃつたぞや。 Gozen made no aida ni, o yashiki kara kuta awamori o dase to, ossha tsuta zo ya. While we’re waiting for the meal lets toast with Owamari*. Please drink up! * Note: strong Okinawa liquor

料理料理料理料理 ryōri (manager)

そりゃア燗場へ、さう申して置きました。いま鮟鱇のお吸物を出しまする。 Sorya a... kan ba e, sau mōshi te okimashita. Ima ankō* no o suimonoo dashi masuru. Excuse me! That place there is ah where sake can be left to warm! Your monkfish soup is now better with fish stock. *Note: possible share, or pun. Ankō, monkfish soup, also means fool

このこのこのこの (O)kono そりゃよからうわいの。コレ、お屋敷樣はむづかしいから、隨分氣を付けてもらはうによ。 Sorya yo kara u waino. Kore, o ya shiki shō wa mudukashii kara, zuibun ki o tsuke te mora wa u ni yo. It’s is good coming from you. This is a difficult way of maintaining your shop. It takes a lot to get suitable help.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ トこの間奧にて、手を叩く。 To Kono ma oku ni te, te o hataku. Then� Inside there’s applause.

［［［［このこのこのこの (O)kono］］］］

ソレ、お手が鳴るわいの。誰れも居ぬかいの。アイ…… Sore, ote ga naru wai no. Dare mo inu kai no. Ai… Those meeting inside are also calling for me. Together�

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト返事しながら奧へ入る。踊り三味線になり、向うより彌助、廻しの拵らへにて、走り出て

來る。 To Henji shinagara oku e iru. Odori shamisen ni nari, mukau yori Yasuke,mawashi no koshira e ni te, hashiride te kuru. Then� Everyone answers that there is quality found here. The sound of odori shamisen dance music is heard, Go towards Yasuke, The sound of tuning to play incidental shamisen music starts, Start to run out and then come back.

料理料理料理料理 ryōri (manager)

オヽ、彌助どん、戻らしったか。 Oo, Yasuke don, modora shitta ka. Oh, Yasuke don, do you know why?

彌助彌助彌助彌助 Yasuke アイ、大門屋に客人が來てござるから、ちよつと顏を出したところが、丼で一つキウと、…

…イヤモウ、とんだ目に會つたやつよ。 Ai, Daimonya ni kyakujin ga ku te gozaru kara, Chiyo tsuto kao o dashita tokoro ga, don hitotsu kyū to, … …iu mou, tonda me ni e tsuta yatsu yo. Visitors are coming together from the Daimonya and Chiyo’s determined face is poking into the room resting one bowl of rice with food on top, � �well soon, at the evening party, something unspoken and unexpected will be noticed.

［ト書［ト書［ト書［ト書togaki stage directions］］］］ ト此うち奧よりおちよ、文を持つて來て To kochira uchi oku Ochiyo, fumi o motsu ku te Then� Carrying a letter Ochiyo starts to move inside

ちよちよちよちよ (O)chiyo 彌助どん、先刻から待つて居たわいなア。小万さんが云はしゃんすには、この文を見て、大

儀ながら、内へ行って來てもらひたいと云はしゃんしたぞえ。 Yasuke don, senkoku kara matsu te ita wai na a. Koman san ga kokoni wa sha n su niwa, kono fumi o mite, taigi nakara, uchi e kō tsute kute mo ra itai to kokoni wa shan shita zoi. Yasuke don, isn’t it so that even now you’ve stayed long after you should have had to wait, �ah. Koman san is saying that, you see, it’s because of this letter that the situation isn’t in order, and this is yet a difficult task. I’m going to leave to go inside and along with the guests where I’ll stay and will give your regards!

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト文を渡す。 To Fumi o watasu. Then� The letter is handed over.

彌助彌助彌助彌助 Yasuke そりゃアお世話でござりやした、……この文を見て、内へ行って來てくれろとは、あの子に

色がましい據とは無し。何だしらん。 Sori ya a o sewa degozari ya shita, …kono fumi o mite, uchi e itte ku te kurero to wa, ano ko ni iru ga mashii ko to wa nashi. That is, seeing this letter, �ah �you did look after these things. Go inside and give my regards.That young woman has a troubled look, spoilt as it is, being tied up with this matter. ［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト合點の行かぬながら文を開き To Gatten no ikanu nagara fumi o hiraki Then� Despite the letter having been opened and agreement reached she does’nt go

［［［［彌助彌助彌助彌助 Yasuke］］］］ 今夜は歸る程に、なんとなと取繕らうてもらうて下さんせや。きつと／＼頼むぞえ。彌助ど

のへ小万……又なんぞ、あの子の癇癪に、障つたかしらん。 Konya wa kaeru hodoni, nan to na to toritsukuro ra u morau te kuda sanse ya. Kitto kitto tanomu zoe. Yasuke dono e Koman… mata nanzo, ano ko no kanshaku ni, sho tsuta kashira n.

The reason I’m returning this evening is because, as part of the agreement, I’ll take this with me and smooth everything over after it has been delivered. Surely, surely I’m really relying on you! From Yasuke dono to Koman� all over again. That young woman’s temper is a hindrance to her attention �hm.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト文を懷へ入れて To Fumi o futokoro e ire te Then� The letter is placed in the breast pocket

［［［［彌助彌助彌助彌助 Yasuke］］］］ おちよどん、わしゃちよつと内へ行って來る程に、この通りを小万さんへ頼みますぞえ。 Ochiyo don, washa Chiyo tsuto uchi e itte kuru hodo ni, kono toori o Koman san e tanomi zoe. Ochiyo don�, chatty Chiyo�,�quickly! In accordance with Koman’s wishes, please go inside soon!

ちよちよちよちよ (O)chiyo そんなら歸ってござんすか。そりゃ大儀ぢやの。 Sonnara kaette gozansu ka. Sorya taigi ja no. Who’s coming back? This chore is very difficult!

彌助彌助彌助彌助 Yasuke なんの、爰から仲裏までいくらあるものだ。ドリヤ、一走り。 Nano, koko kara naka ura made ikura aru mono da. Dorya, hitohashiri. What’s this? Before the relationship is betrayed the importance of the matter in question is the main concern. Oi you! Run!

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト向うへ走り入る。始終踊り三味線。 To Mukau e hashiri iru.Shishū odori shamisen. Then� Run towards and go inside. Shamisen dance music is playing

ちよちよちよちよ (O)chiyo ドレ、わしも、小万さんにこの樣子を。 Dore, washi mo, Koman san ni kono yōshi o. Here I am, Koman san, just like this Lord.

料理料理料理料理 ryōri (manager)

おちよどん、もうお吸物が出るによ。 Ochiyo don, mō o suimono ga deru ni yo. Ochiyo don, soon your soup will be here!

ちよちよちよちよ (O)chiyo 合點ぢやわいなア。 Gatten ja wai na a. I understand, ah� what will be will be.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ トおちよは奧、料理番は下座へ入る。矢張り踊り三味線にて、奧より左十郎、伴右衞門、伊

平太、東作四人しておこのと小万を連れて出る。

To Ochiyo wa oku, ryōriban wa geza e hairu. Yahari odori shamisen nit e, oku yori Sajūrō, Banemon, Ibeita, Tōsaku yonnin shite Okono to Koman o tsure deru. Then� Ochiyo is inside, The cook starts to bow. The shamisen dance music continues, Inside are four people, Sajūrō, Banemon, Ibeita, and Tōsaku The companions Okono and Koman appear.

四人四人四人四人 yonnin four people 兩人ともに、ちよつと來やれ／＼。 Futatsu nin tomo ni, Chiyo tsuto ku yareyare. Both of you together! Thankfully Chiyo is quickly coming.

小万小万小万小万 Koman お前さん方が、わたしに用と仰しゃるは、先度からおこのさんが云はしゃんす、三五兵衞さ

んんの事かえ。 Omae san hō ga, watashi ni yō to ossharu wa, sendo kara Okono san ga kokoni wa shansu, Sangobei san n no koto kae. My dear, I would rather speak with the individual in question. Recently Okono san said that Sangobei san’s hmm� circumstances have changed and he’s not good company

このこのこのこの (O)kono 小万さん、あなた方まで、いろ／＼と仰しゃることぢやほどに、どうぞ、よいやうに返事し

て、おくれいなア。 Koman san, anata hō made, iroiro to ossharu koto ja hodoni, dōzō, yoi yō ni henji shite, okure ina a. Koman san, play your part until, with some person, you should say that an affair is the reason. Please. That person will respond as they will. A delay would be unusual �ah.

小万小万小万小万 Koman サア、お前が段々云うてぢやけれど、どうもならぬ譯があるゆゑ。 Saa, omae ga dandan iu te ja keredo, dōmo naranu wake ga aru yue. Come on now, whatever you advocate will be gradual. Thanks, but it can’t be helped. Understand this purpose.

左十左十左十左十 Sajū(rō) どうもならぬ譯といふは、小万、外に色があるといふのか。 Dōmo naranu wake toiu wa, Koman hokani iro ga aru toiu noka. It’s understood why the ingratitude. Besides this so called affair of Koman’s is very sad.

伴右伴右伴右伴右 Bane(mon) 仲町で聞合したところが、其方にばかりは深間は無い、今時の藝者に似合はぬ、甚だ堅いも

のぢゃと、聞及んで居るわサ。 Naka-chode kikiau shita to koroga, sochi ni bakari wa fukama wa nai, imadoki no geisha ni nia hanu, hanahada katai mono ja to, kioyo nde oru hanase. Various wide spread enquires were made at Naka-cho* where there was nothing but gossip. Learning of the chatter the geisha there were as truly stubborn a group of people as they are toothless. *Note: Naka-cho was one of the seven licensed quarters in Fukagawa

伊平伊平伊平伊平Ibe(ita) 我れ／＼も三五兵衞どのに、頼まれた手前。 Wareware mo Sangobei dono ni, tanomareta temae.

We also previously made enquiries with Sangobei dono.

東作東作東作東作 Tōsaku 小万、是非とも。 Koman, zehi tomo. Koman, this companion is undeserved...

このこのこのこの (O)kono アレ、あの通りぢやわいなア。尾花屋や梅本で聞いておいでなされたゆゑ、嘘もつかれず、

お前の返事が無いによつて、どうやら、わたしが捨てゝ置くやうで、濟まぬわいなア。外に

どう云ふ譯があるかは知らぬけれど、それはそれ。 Are, ano doori ja wai na a. Obanaya ya Umemoto de kiite aide nasareta yue, uso mo tsukare zu, omae no henji ga nai niyo tsute, dōyara, watashi ga suteteoku yō de, sumanu wai na a. Hokani dō iu wake ga aruka wa shiranu keredo, sore wa sore. Hey, what will be will be �ah. Be pleased for the reason enquiries were made at the Obanaya and Umemoto* tea houses. My head is tired of lies and it seems as though your reply cannot be trusted. I leave a sorry figure, very sorry that what will be will be �ah. Besides, it’s understood that whatever is known it’s always the same thing that is said, and that’s that. * Obanya, the Teahouse of Flowering Pampas, was one of the three largest and most prosperous tea houses in Fukagawa 深川, and was located near the Tomigaoka Hachiman Shrine, on the north side of Eitai Doori 永代通り. The Umemoto tea house was located on the south side of the street.

［ト書［ト書［ト書［ト書togaki stage directions］］］］ ト小万、思ひ入れあつて To Koman, omoiire atsu te Then� Koman, strikes an emotionally charged pose

小万小万小万小万 Koman サア、この事は、どんな事があるても、云ふまいとは思うたけれど、云はねば三五兵衞さん

へ、お前さん方や、おこのさんが濟まぬ口振り、それぢやによつて、云ひます程に、必ずパパパパ

ツツツツとならぬやうにして下さんせえ。 Saa, kono koto wa, donna koto ga aru temo, iu mai to wa omou ta keredo, kokoni wa neba Sangobei san e, omae san kata ya, Okono san ga sumanu kuchiburi, sore ja ni yo tsute, kokoni imasu hodoni, kanarazu patsu tonaranu ja ni shite shimo san se e. Come now, about this matter, what’s going to happen? It’s not, whatever the intention, to have any other outcome. The same thing will continue to be said to Sangobei san. My dear lady, Okono san, is very sorry to speak like this.Though it’s in good faith, as always it’s said because as a subordinate person she can’t help herself �eh.

このこのこのこの (O)kono そりゃモウ、わたしが呑み込んでゐやんす。そして、お前の色さんの名は、なんといふえ。 Soriya mou, watashi ga nomiko ndeiansu. Soshite, omae no koro san na wa, nantoiu e. Very soon though, without coercion, I’ll understand. And then what about your lover’s reputation �eh!

四人四人四人四人 yonnin four people 早う聞かしてくれ居れやい。 Hayō kikashite kure ya i. Quickly! Let’s have the information!

小万小万小万小万 Koman サア、其お方は、 Saa, sore okata wa,

Come on now� about that lady!?

四人四人四人四人 yonnin four people 其お方は。 Sore okata wa. About that lady!

小万小万小万小万 Koman 千嶋のお屋敷、薩摩源五兵衞さんでござんすわいなア。 Chishima no o yashiki, Satsuma Gengobei san de gozansu wa ina a. Satsuma Gengobei san isn’t at the Chishima’s residence, isn’t that so? �ah.

四人四人四人四人 yonnin four people ヤアヽ。 Yaaa. Yoh!

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト顏見合せ驚ろく。 To Kao miawase odoroku. Then� Look at each other with astonishment.

小万小万小万小万 Koman 常住お前さん方と一座しても、見付けられぬやうにするは、大抵辛氣な事ぢゃござんせぬわ

いなア。 Jōjū omae san hō to ichiza shite mo, mitsuke rarenu yō ni suru wa, taitei shinki na koto ja gozansenu wa ina a. The party is also heading towards the permanent residence my dear. Isn’t that what the figure near the gate is going to do? I’m not generally feeling gloomy though. Isn’t that so? �ah. 左十左十左十左十 Sajū(rō) 何れも、お聞きなされたか。千嶋家の御家老、薩摩源次兵衞どのゝ御子息、我れ／＼が、毛

虫どの。 Dore mo, okiki nasareta ka.Chishima ie no o karō, Satsuma Genjibei dono no o shisoku, wareware ga, kemushi dono. Haven’t I asked politely every time? Neh? We are being boring pests to the son of Lord Satsuma Genjibei, the honourable chief retainer of Chishima house, what eh?

伴右伴右伴右伴右 Bane(mon) 日頃より四角四面な源五兵衞どの、斯樣な遊所なぞへ參るやうな仁ではないが、愚しい千太

郎さまへ、世の中の世話を御覽に入れん爲、遊所へ折々の欝散。 Hikoro yori shikakushimen na Gengobei dono, kono sama na yūsho nazo e mairu yō na jin de wa nai ga, gu shii Sentarō mae, yononaka no sewa o miru ni ire n tome, yūsho e oriori no ussan. Gengobei dono’s reputation is usually a stuffy one. This Lord is reputed to visit the pleasure quarters and such like, and doesn’t have a very generous reputation. In front of Sentarō he behaved with foolish selfishness. Bear in mind though that it’s a sign of the times and an understanding of the needs of this generation’s �hmmm. An occasional trip to the pleasure quarter serves to dispel gloom.

伊平伊平伊平伊平 Ibe(ita) 左樣でござる。ちんぷんかんで、我れ／＼へも意見めさるゝ源五兵衞どのが Sashō de gozaru.Chinbunkan de, ware ware e mo iken mesa ruru Gengobei dono ka

This is a complete distortion! Utter gibberish! Don’t we tend to make a great deal of our own detailed opinions when it comes to Gengobei dono?

東作東作東作東作 Tōsaku 藝者の小万と色事とは。 Geisha no Koman to irogoto toa. A certain love affair� �geisha Koman...

小万小万小万小万 Koman その偏屈な、堅くるしい、几帳面なお方が……思案の外とは、をかしいものぢやわいなア。 Sono henkutsu, katakurushii, kichōmen na o kataga… …shian no hoka toa, okashii mono ja wa ina a. Such pig-headedness! He is thoughtful, steadfast, and able to sort things out� �though there are certain other considerations. Ah� �what a strange matter this is.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト恥かしきこなし。四人、顏を見合せて To Hazukashi kiko nashi. Yonnin, kao o miawase te Then�. Silently embarrassed. The four people exchange glances

四人四人四人四人 yonnin four people ハテ、とんだ事な。 Hate, tonda koto na. Well� , this is a serious matter.

［［［［ト書ト書ト書ト書 togaki stage directions］］］］ ト奧よりおとわ出て To Oku yori Otowa de te Then� Otowa appears from inside とわとわとわとわ (O)towa モシ／＼、あなた方がお見えなさらぬとて、千太郎さまがお尋ね遊ばしてゞござりまする。

サア／＼、ちゃつとお出でなされませいなア。 Mōshi mōshi, anata hōga omie nasaranu tote, Sentarōsamaga otazuneasoba shitede gozarimasuru. Saa saa, ja tsuto oidenasare mase ina a. Excuse me! Isn’t it because Lord Sentarō’s preference was that he wanted to party that your being here is by arrangement. Come now, er, please leave quickly�ah.

左十左十左十左十 Sajū(rō) 千太郎どのがお召しとござれば、參らずばなりますまい。 Sentarō dono ga omeshi to gozareba mairazuba narimasumai. If Sentarō dono is summoning you will you be visiting or not?

伴右伴右伴右伴右 Bane(mon) この樣子を三五兵衞どのへ。 Kono yōshi o Sangobei dono e. Is this visit is to Sangobei dono �eh?

伊平伊平伊平伊平 Ibe(ita) そりゃ間を見合せての事に致さう。 Sorya ken o miawase te no jiji ni ita sō.

There is scheming in every measured exchange of glances

東作東作東作東作 Tōsaku サア／＼、先づお出でなされい。 Saa saa, mazuoide nasarei. Come on now, please, you go ahead.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト合ひ方になり、四人、奧へ入る。おこの、小万の側へ寄り To Aikata ni nari, yonnin, oku e iru. Okono, Koman no soba e yori Then� The sound of a musical accompaniment, four people enter within. Okono is with Koman このこのこのこの (O)kono 小万さん、なんぼお前が誠らしう云はしゃんしても、どうもわたしや合點が行かぬ。源五兵

衞さんはお屋敷でも、物堅いお方との噂。此方の内へお出でなされても、ついに女子を捕へ

て、ちよつとのてんがうも仰しゃらぬ。その上、あなたの奧樣といふは、お國のお血筋、き

つとしたお家柄、まだ御祝言はなけれど、それさへお嫌ひなさるもの、なんぼお前が隱さん

しても、源五兵衞さんと譯のある事なら、素振り目遣ひ、滿更わたしぢゃと云うて、ちつと

は氣取らぬ事は無いわいなア。三五兵衞さんの返事に困つて、ツイ云はしゃんしたのであら

うがな。なんのわたしに隱す事は無いわいなア。 Koman san, nanba omae ga makoto rashi u kokoniwa shan shite mo, dōmo watashi ya gatten ga ikanu. Gengobei san wa o yashiki demo, monogatai okata uwasa. Kochi no uchi e o ide nasarete mo, tsuini joshi o torae te, chiyotsuto no tenga u mo ossharanu. Sono ue, anata no okusama toiu wa, o kuni no o chisuji, kitsu toshita o iegara, mada goshūgen hana keredo, sore sae o kirai nasaru mono, nanbo omae ga Oki san shite mo, Gengobei san to wake no aru koto nara, soburi medukai, mankō watashi ja toiu te, chi tsuto wa kitoranu wake wa nai wai na a. Sangobei san no henji ni komatsu te, tsui kokoni wa shan shita node arau ga na. Nan no watashi ni kakusu koto wa nai wa ina a. Koman san, you are both very dignified in speech and truly worthy. I heartily agree that you shouldn’t go. At the residence of Gengobei san there are, however, rumours about the Lord and gentleman’s honesty. If it pleases you to enter, please step this way. At last an understanding woman who, becoming very calm and refined, is able to speak. Also, take into account what your madam said, about your honourable country and lineage, and your good fortune and olden honourable family. Still� however auspicious your beauty, you are still prone to frequent stubbornness. No matter what, there is much you do conceal Miss. However you appear to be will result in Gengobei san to understand what is going on� I say, how quickly it’s possible to completely comprehend, and understand, that all is not what it seems �ah. I’m worried about Sangobei san’s reply right now, with your dignity being questioned and your reputation under investigation! In the circumstances shall I not conceal what’s what �ah? 小万小万小万小万 Koman おこのさん、仲町と洲崎と所は隔てゝあれど、お前の深切。いつぞやからお屋敷樣で内方へ

來るわたし、馴染みの無い者を、可愛がつて下さんすお前に、なんの隱しませうぞいなア。

御推量の通り三五兵衞さんが、しつこう云はしんやして、口説かしゃんすが嫌さに、返事に

困って今のやうに、源五兵衞さんと、譯があると云うたのぢやわいなア。 Okono san, Naka no cho to Susaki to toko wa hedate te aredo, omae no shinsetsu. Itsuzoya kara o yashiki sama de naihō e kuru watashi, najimi no nai mono o, kawaga tsute kuda sansu omae ni, nanno kaku shimase uzo ina a. O suiryō no doori Sangobei san ga, shitsukō kokoni wa shin ya shite, kuzetsu ka shan su ga ya san ni, henji ni komatte ima no yō ni, Gengobei san to, wake ga aru toiu tano ja wa ina a. Okono san, your kindness is your virtue in Naka no cho, Susaki and such places. A while ago you returned to me from inside the honourable Lord’s residence.He is not your intimate,

and it’s not you who surrenders to the feelings of love and trust. Why fearfully conceal what isn’t going to be? �ah. At a guess you are in agreement with Sangobei. About this matter be honest in your involvement, be reluctant and confused but dignified in response to this lover’s quarrel in which Gengobei san now figures, and understand and trust what is said. What will be will be�ah.

このこのこのこの (O)kono さうでござんせう。お前源五兵衞さんに、その事を頼んでかえ。 Sau degozanse u. Omae Gengobei san ni, sono koto o tayo nde kae. I’m not persusaded. Reverse, and do not place your trust in, that intention of your’s towards Gengobei san.

小万小万小万小万 Koman ほんに、さうでござんすな。そんなら源五兵衞さんに、この樣子を話して來うかいなア。 Hon ni, sau de gozansuna. Son nara Gengobei san ni, kono yōshi o hanasite ku kaina a There isn’t any persuading him�neh? If it’s like that with Gengobei san, to talk like this is possible, isn’t it?¡

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト行かうとする。 To ikau to suru. Then.., Make a fuss.

このこのこのこの (O)kono アヽ、コレイナア。立ちながら話しもなるまい。殊に座敷にお出でなさるを、お前が呼んで

は目に立つ……コレ、おとわ、てまへちよつと、源五兵衞さんを呼びましておぢゃいなう。 Aa, kore ina a.Tachi nagara hanashi mo naru mai. Koto ni zashiki oide saru o, omae ga yonde wa menitatsu… …kore, Otowa, temae (O)chiyo tsuto, Gengobei san o yobimashite o ja ina u. Ah! This determination �ah. Let’s go while we are talking. As we leave this tatami mat room attract attention by calling out� �like this, Otowa! Over here! (O)Chiyo, quickly! Gengobei san has sent a definite invitation. OK. とわとわとわとわ (O)towa 小万さん、なんぼ洲崎が場末でも、升屋のおとわでござんす。そんな事は呑み込んで居るわ

いなア。 Koman san, nanbo Susaki ga basue demo, Masuya no Otowa de gozansu. Sonna koto wa nomiko nde oru wai na a. Koman san, Susaki is a district that’s very run down, but Masuya’s Otowa isn’t. Because of this understand that what will be will be �ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト潮來節になり、おとわ、奧へ入る。おこの、小万、しか％＼ある。奧にて To itako bushi ni nari, Otowa, oku e iru. Okono, Koman, shikashi ga aru. Oku ni de. Then� The sound of itako bushi*, Otowa goes inside. Then Okono and Komango inside. *Note: 潮來（いたこ）節 ‘Itako bushi’ also known as Itako Dejima, an Edo period Japanese folk song and melody often performed as part of 藤娘 Fuji Musume, the Wisteria Maiden

源五源五源五源五 Gengo(bei) ナニ、芝から使とは何用ぢゃしらぬ。 Nani, shizamakarashi to wa naniyō ja shiranu.

What! Before leaving on this errand what’s going on?

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト云ひ／＼出て來る。 To Kokoni ii detekuru. Then� Emerge and say that fun is being had.

［源五［源五［源五［源五 Gengo(bei)］］］］ おこの、芝から身に逢ひたいと申して參つた使者は、どれに居るぞ。 Okono, shizamakara mi ni ai taito mōshi te san tsuta shisha wa, dore ni iru zo! Okono, this journey is an as an equal in this assignation. Excuse me, while I attend to the visiting messenger!

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ トおこの、小万、ウヂ／＼して云ひかれる。 To Okono, Koman, ujiuji shite kokoni hikareru. Then� Though hesitant, Okono and Koman are charmed by this.

源五源五源五源五 Gengo(bei) ハテ、その使ひは、どれに居るぞ。 Hate, sono tsukai wa, dore ni iru zo. Now, attend to that messenger!

このこのこのこの (O)kono ハイ、芝からのお使ひは。 Hai, shizamakara no o tsukai wa. Yes, before me is the messenger.

源五源五源五源五 Gengo(bei) どれに居るぞ。 Dore ni oru zo. Attend to!

このこのこのこの (O)kono ハイ、お使ひでござりまするわいなア。 Hai, o tsukai de gozarimasuru wa ina a. Yes, it’s your messenger, it is ..ah.

源五源五源五源五 Gengo(bei) 何を云ふぞいやい……これは小万、先程から座敷に居らぬが、何をして居るぞ。千太郎さま

を始め、三五兵衞どのもお尋ねなされた。早く奧へ行きやれ。 Nan o iu zo iyai… …kore wa Koman, sakihodo kara zashiki ni iranu ga, nan o shite iru zo. Sentarō sama o hajime, Sangobei dono mo tazune nasareta. Hayaku oku e iki yare. This is to do with what’s reluctantly been said� �Koman. Before� a while ago, when you weren’t in the tatami mat room. What’s happening! Sentarō sama began, and Sangobei dono has investigated. Thankfully we’ll soon be going inside!

小万小万小万小万 Koman ハイ、參じは參じますが、おこのさん、今のをナ。 Hai, maji wa majimasu ga, Okono san, ima no o na. Yes, a meeting will be taking place. Okono san, now �neh.

このこのこのこの (O)kono

サア、今のをナ。 Saa, ima no o na. Come on, it’s happening now�neh.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト小万、云へと云ふこなし。 To Koman, kokoni e toiu konashi. Then� Say to Koman ‘well said’.

源五源五源五源五 Gengo(bei)

ハテ、何ぢゃやら、兩方から今のをナ……とは何の儀ぢゃ。 Hate, nan ja yara, ryōhō kara ima no o na… …to wa nanno gi ja. What is certain about the outcome? And from now on, about both parties�neh� �what is the matter?

小万小万小万小万 Koman

サア、今のをナ、と申しまするは、ヘヽヽヽヽへ。 Saa, ima no o na, to mōshimasuru wa, Come on, it’s happening now �neh, all will be explained. Heh heh heh heh heh heh.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト笑ふ。源五兵衞、合點の行かぬ思ひ入れにて、おこのを見る。これも笑ふ。 To Warau. Gengobei, gatten no ikanu omoi ire ni te, Okono o miru. Kore mo warau. Then� Laughter Without Genegobei getting the desired agreement, Okono looks on. At this there is more laughter.

源五源五源五源五 Gengo(bei) これはマア、何の事ぢゃ。 Kore wa maa, nanno koto ja. So, what sort of deception is this!

このこのこのこの (O)kono サア、これは……オヽ、それ／＼、芝からのお使ひでござりまする。 Saa, kore wa… …oo, soresore, shizama kara no o tsukai de gozarimasuru. About this? Come on now� �oh, something, before you instruct your messenger

源五源五源五源五 Gengo(bei)

サア、其お使ひに早う逢ひたい。どれに居るぞ。 Saa, o tsukai ni hayō ai tai. Dore nioru zo. Come on now, there’s a secret purpose in an earlier meeting with the messenger. What’s going on!?

このこのこのこの (O)kono サア、其お使ひは。 Saa, shi o tsukai wa. Come on now, what about your messenger?

源五源五源五源五 Gengo(bei)

その使ひは。 Sono tsukai wa.

What about that messenger?

このこのこのこの (O)kono 爰にござりまする。 Kokoni gozarimasuru. Take me there.

［［［［ト書ト書ト書ト書 togaki stage directions］］］］ ト源五兵衞の方へ小万を押しやる。 To Gengobei no kata e Koman o oshiyaru. Then� Koman is pushed in the direction of Gengobei.

小万小万小万小万 Koman おこのさん、何ぢゃぞいなア。 Okono san, nan ja zo ina a. Okono san, what is happening? Why! Ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ トうぢ／＼こなし。 To Ujiuji konashi. Then� Behave hesitantly.

源五源五源五源五 Gengo(bei)

何ぢゃやら、どき／＼と。エヽ、こりゃ身共を嘲弄するのぢゃな。よい機嫌な者どもぢゃ。 Nan ja yara, doki doki to. Ee, korya midomo o chōrō suru no ja na. Yori kiken na mono domo ja. What is this uncertainty I feel with a throbbing heart? Bah, I see here that there is a sense of mockery �neh. Thank you for the redoubled humour about this matter.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト苦笑ひする。兩人、モヂ／＼こなし。おこの、小万に、今のを頼めと仕方。小万はお前云

うてくれいといふ仕方。兩人よろしくあつて、思はず源兵衞と顏を見合せて To Kushōi suru.Ryōnin, mojomoji konashi. Okono, Koman ni, ima no o tanome to shikata. Koman wa omae iu teku rei toiu shikata. Ryōnin yoroshiku atte, omo hazu Gengobei to kao o miaise te Then� Wearing a bitter smile. Both people behave hesitantly. Okono now asks Koman to come away. Koman speaks slowly and bows. Both show fitting interest and anticipation and exchange glances with Gengobei

このこのこのこの (O)kono ホヽヽヽヽ。 Ho ho ho ho ho.

小万小万小万小万 Koman ホヽヽヽヽ。 Ho ho ho ho ho.

兩人兩人兩人兩人 ryōnin both people

ホヽヽヽヽ。

Ho ho ho ho ho.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト氣の毒さうに笑ふ。 To Ki no doku sau ni warau. Then� In the laughter is suggestively malign

源五源五源五源五 Gengo(bei)

何の事ぢゃ、さしてをかしくもない儀を……エヽ、芝の使ひは玄關に待って居るか。 Nanno koto ja, sashite o kashiku mo nai gi o… …ee, shi no tsukai wa genkan ni matte oru ka. What sort of deception is this? There’s not much sincerity about this affair� �huh? Is the messenger from the lawn waiting in the entry hall? * sharé, or pun. Shi no tsukai, messenger from the lawn, when spoken can mean ‘messenger of death’ or ‘death spirit’

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト奧へ行かうとするを、おこの、源五兵衞の袖を扣へ To Oku e kō kau to suru o, Okono, Gengobei no sode o hikae Then� Together go inside, Okono holds back Gengobei’s sleeve

このこのこのこの (O)kono アヽモシ……其お使ひの口上は、小万さんが聞いてでござります。コレイナア、爰へ來て、

今の口上を、とつくりと云はしゃんせいなア。 Aamōshi… …shi tsukai no kōjō wa, Koman san ga kiite de gozarimasu. Kore i na a, koko e ku te, ima no kōjō o, to tsukuri to kokoni wa shan sei na a. Ah excuse me� �listen Koamn san, about that messenger’s verbal report. I insist �ah, this has come, the message about your dignity and reputation is now being relayed �ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト小万を源五兵衞の側へ突きやる。 To Koman o Gengobei no hata e tsuki yaru. Then� Koman moves toward Gengobei.

源五源五源五源五 Gengo(bei)

小万がその口上を承って居るか。何の用ぢや、早うその口上を。 Koman ga sono kōjō o uketamawatte oru ka.Nanno moji ya, hayō sono kōjō o. Koman are you listening to this message? What sort of business is being spoken about in this unexpected message?

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト小万、思ひ入れあって、源五兵衞の側へ寄り To Koman, omoiire atte, Gengobei no hata e yori Then� Near Gengobei, Koman poses for effect

小万小万小万小万 Koman その口上は、ナア、……ソレ、頼まれておくれなされませ。 Sono kōjō wa, naa, …sore, tanomare te okure na sare mase. About that spoken message, look� �about that. A delay was requested�neh. Please do that.

源五源五源五源五 Gengo(bei)

その口上は、頼まれておくれなさりませ……。そりゃ何の事だ。 Sono kōjō wa, tanomare te okure na sare mase …sorya nanno koto da. About that message, a delay was requested �neh, please do that� �what sort of deception is that!

小万小万小万小万 Koman その譯はマア、下に居て、聞いておくれなさんせいなア。 Sono wake wa maa, shitaite, kiite okure na sansei na a. So, understand about that, it was agreed to delay getting it �neh, agreed�neh �eh?

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト合ひ方になり、よろしくあって To Aikata ni nari, yoroshiku atte Then� The musical accompaniment conveniently ends. ［小万小万小万小万 Koman］ 奧に來てござんす、あの三五兵衞さんが、何ぢゃやら、わたしに惚れたのなんのと云うて、

口説かしゃんすけれど、どういふ事やら、わたしや三五兵衞さんが、嫌ひで嫌ひでならぬわ

いなア。それで今まで斷り云うても、爰にござんすおこのさんや、奧にござんす伴さんや、

左十さんまで頼んで、のツ引ならぬ今宵の切端。得心せぬは外に深い色でもあるやうに問ひ

詰められ、せん方無さ、如何にも深う譯のあるお方といふは、源五兵衞さんでござんすと申

しましたわいなア。 Oku ni ku te gozansu, ano Sangobei san ga, nani ja yara, watashi ni hore nanno toiu te, kuzetsu ka shansu keredo, dō iu koto yara, watashi ya Sangobei san ga, kirai de kirai de naranu wai na a. Sore de ima made danshari iu tomo, kokoni gozansu Okono san ya, oku ni gozansu tomo san ya, Sajūrō san made tano nde, no tsu hiki naranu koyoi no kiriha. Tokushin senu wa hokani fukai iro demo aru yō ni toi tsumerare, sen kata na sa, ikaga ni mo fuke/mi wake no aru okata toiu wa, Gengobei san de gozansu to mōshimashita wa ina a. Though I am beguiled don’t go inside. What’s certain is that Sangobei san is there. A kind of so called emotional lover’s quarrel doesn’t happen with someone like that. The same can be said about these uncertain circumstances. Between Sangobei san and me there is unbearable hatred ...ah. Though that is until the time when it can be said that I’ll have broken free. Isn’t Okono san here somebody like that? Isn’t my companion, who isinside, like that? I beg you to wait for Sajūrō san. Take not now what’s left of this evening. I remain unconvinced unless a figure should appear and seat itself beside me. Also understand that it’s growing late, and for this so called lady, not having spoken to Gengobei, there is the prospect of a future abandonment ...it is what it is ...ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ トこなし。 To Konashi. Then� Posturing.

このこのこのこの (O)kono わたしも側に居る所で、左十さんや伴さんへ、あなたと譯のあるといふ返事。ハツと思うて

後で聞けば、三五兵衞さんを初め皆さんも、常からあなたを怖がってござるによって、源五

兵衞さんと譯があると云うたら、この後三五兵衞さんも、云ひ出してゞはあるまいと、思う

て云うたあの子の氣轉。御迷惑なはあなたお一人。 Watashi mo hata ni iru tokoro de, Sajūrō san ya tomo san e, anata to wake no aru toiu henji. Hatsu to omou teatode kikeba, Sangobei san o hajime mina san mo, took kara anata o kowagatte gozaru ni yotte, Gengobei san to wake ga aru toiu tara, kono ato Sangobei san

mo, iu dashite de wa aru mai to, omau toiu ta ano ko no ki ten. Gomeiwaku na wa anata o hitori By my side no matter what Sajūrō san, my companion, you understand what was said in reply. Before having heard, to start with, there was some expectation. Sangobei san also begins like this with everyone, and as a consequence you were always afraid of him. It’s said Gengobei san will understand afterward, and after someone’s death so will Sangobei san. About this I say chin up, though it probably won’t be when it happens. There is a hope in speaking of a young woman’s change of mind. In the affair surrounding my troublesome reputation you are the only honourable person.

小万小万小万小万 Koman 常から物堅いあなた、此やうな自堕落な事は、お否であらうけれど、三五兵衞さんがお國へ

お歸りなさるゝまで、表向きばかりの色事になって、わたしが難儀を救うておくれなさりま

せ。その代りに、嫌らしい事はしは致しませぬ。申し、源五兵衞さま、一生の御恩に着ます

程に、皆さんの手前は、今お頼み申したやうに、譯のある體に見せて下さりませ。モシ、お

頼み申しますわいなア。 Toko kara monogatai anata, kochi yō na jidaraku na koto wa, o ina de arau keredo, Sangobei san ga o kuni e kaeri nasaru ru made, omotemuki bakari no irogoto ni natte, watashi ga nangi o tsukuu te okure nasari mase. Sono kawari ni, ki rashii koto hashi wa itashima senu. Mōshi, Gengobei sama, isshō no goon ni kimasu hodoni, minasan no temae wa, ima o tanomi mōshita yō ni, wake no aru tai ni mie se te kudasari mase. Mōshi, tanomi mōshimasu wa ina a. All the same, it’s not you who is being investigated. You are always faithful, helping�neh in these self indulgent circumstances. Sangobei san is going into exile, returning to his country, until an established relationship materialises, at least outwardly. Please don’t try to save me from my suffering. There is no relief from a worsening crisis. Excuse me, Gengobei sama, please now grant a lifetime’s favour because, from the perspective of others, your kindness will release me from any profit. As an example of real insight offer this to me. Excuse me for speaking disrespectfully�ah.

［ト書［ト書［ト書［ト書 togaki stage directions］］］］ ト源五兵衞、思ひ入れあって To Gengobei, omiire atte Then� Gengobei, pose for effect

源五源五源五源五 Gengo(bei)

芝の使ひはハテ、變つた口上ぢやなア……小万は云うても藝者の事なれば、後先の辨まへな

く、只今の樣な儀を云ひ出さうとも、おこのまでが同じ樣に、益體もない事を云ひ出すは、

なんぼ表向きでも内向きでも、身共は大切なる御用を蒙むり、江戸表へ下り居る身分。殊に

斯樣なむくつけな侍ひが、若輩な女子を捕へ、惚れたの、イヤ色ぢゃのとは……餘り馬鹿々

々しい。 Shino tsukai wa hate, hen tsuta kōjō ja na a… …Koman wa iu temo geisha no koto nareba, atosaki no wakimae naku, shikon no yō na gi o iu dasa u temo, Okono made de ga onnaji sama ni, masu tai monai koto o iu dasu wa, nanbo omotemuki demo uchimuki demo, midomo wa taisetsu naru goyō o kōmu ri, Edo omote e ori iru mibun. Koto ni koto sama na mukutsuke na samurai ga, jakuhai na ominago o torae, hore tano, ia iru ja no toha… …amari bakabaka shii. About the messenger from the lawn, well, the spoken message that followed was unexpected �neh �ah� �about Koman it said though that if this becomes an affair with a geisha understand that the consequences will hurt. It reveals that right now, no matter what, the reputed affair is about procurement. Okono was like you before now. The advantage of the truth, unlike the affair, is tellingly revealing of how much of it is outward appearance as opposed to what is inwardly felt is. For me it’s important to prove that in one’s affairs principles are maintained, otherwise in Edo one’s social standing is undermined, in addition to which this Lord has a reputation as a coarse samurai. A naive woman would be caught up

in her reputation, enjoying being in love, without the existance of any so called love affair� �very stupid. ［ト書［ト書［ト書［ト書 togaki stage directions］］］］ トおこの、思ひ入れあつて To Okono, omiire atte Then� Okono, pose for effect

このこのこのこの (O)kono それ見やしゃんせ。大方斯うであらうと思うたわいなア。小万さん、お前、どうせうと思は

しゃんすえ。 Sore miya shan se. Ookata kō de arau to omou ta wa ina a. Koman san, omae, dōse uto omowa ja nsu e. What dignity! Perhaps, with an investigation, in this way you will be believed regardless of what will happen ...ah. Koman san, however unintentionally, why don’t you take the chance?

小万小万小万小万 Koman どうせうと云うたら、頼みに思うた源五兵衞さんは、お否ぢゃと云うてゞござんす。詰まら

ぬ者になつたわいなア。 Dōse uto iu tara, tanomi ni omou ta Gengobei san wa, o iya ja toiu te de gozansu. Tsumaranu mono ni natsu ta wa ina a. Nevertheless say that when a favour was expected of Gengobei san he said no. What it is is that that boring person missed the point �ah.

このこのこのこの (O)kono 詰まらいでも、詰まっても、 Tsumarai demo, tsumatte mo, Boring, so boring,

［ト書［ト書［ト書［ト書togaki stage directions］］］］ ト源五兵衞を見る。源五兵衞は向うを見て居る。 To Gengobei o miru. Gengobei wa mukau mite oru. Then� Gengobei looks. Gengobei glares.

［このこのこのこの (O)kono］ どうも仕樣が無いもの、 Dōmo shiyō ga nai mono, Thankfully a resolution is not what matters,

小万小万小万小万 Koman 無いでは濟まぬわいなア。 Nai de wa sumanu wa ina a. What it’s not about is the lack of difficulty ...ah.

［ト書［ト書［ト書［ト書togaki stage directions］］］］ トうぢ／＼する。おこの (o)kono、源五兵衞へ指 To ujiuji suru. Okono, Gengobei e sasu Then�

Hesitantly. Okono points at Gengobei

This is a translation of the JTI e-text ofGodairiki koi no fujime in Nihon gikyoku zenshu (Tokyo: Shun'yodo, 1930, vol. 6) at the University of Virginia Library Japanese Text Initiative

http://etext.virginia.edu/japanese/kabuki/godai/NamGoda.html

For a synopsis of the entire play please see http://www.kabuki21.com/godairiki.php