Kyōgen-ga Taikan

by Yamaguchi Ryōshū, originally 1927-1928

(Compendium of Kyōgen Pictures)

This collection's set of fifty prints (see Prints in Collection below) designed by the kyōgen actor and artist Yamaguchi Ryōshū 山口蓼州 (1886-1966), depicting scenes from forty-eight kyōgen plays, is an unpublished (note the lack of a title within the title block on the cover of the above chitsu box) second edition of his "Kyōgen-ga taikan" first issued in 1927-1928 and then re-printed (再版) and issued in 1966. While the full original title of the first edition, "Kyōgen-ga taikan: hyakushu no uchi" 狂言画大観: 百種之内 (A Compendium of One Hundred Prints of Kyōgen), suggests it was comprised of one-hundred prints, only 50 woodblock prints were included in the compendium.

The First Edition - "Kyōgen-ga taikan: hyakushu no uchi"

The dates for the publishing of the first edition of Yamaguchi Ryōshū's print compendium of kyōgen titled "Kyōgen-ga taikan: hyakushu no uchi" 狂言画大観: 百種之内 (A Compendium of One Hundred Prints of Kyōgen) are generally given as 1927 to 1928. As to who originally published the prints, the one colophon I have seen, shown below, lists the publisher as Hayashi Eikichi of the Kyoto publishing house Hangakai (Hangakai hanmoto 版畫會板元)* and the date of issue as March 20, 1928. Reputable sources however, such as the catalog of the National Diet Library, list the publisher as unknown or "林某" which despite the "林" character which can be read as the name Hayashi, when combined with the character "某," is generally taken to mean "unknown."

In looking at various auction offerings of these prints we see that the packaging of the set of woodblock prints varied, sometimes being grouped in individual folders or portfolios and sometimes being packaged as a set in one or two decorative chitsu boxes. 

*Hangakai hanmoto 版畫會板元 located in Kyoto appears to have been active c. 1928-1933, publishing prints and books related to the kabuki, noh, kyogen and bunraku theaters. For other works in this collection by the same publisher see "Collection of One Hundred Kumadori Makeups in Kabuki, Collection 2, 1925" and "Illustrated Collection of Famous Japanese Puppets of the Osaka Bunrakuza, 1926-1927."

National Diet Library Prints

According to catalog entries on the National Diet Library website, an unknown publisher (designated "林某" in their catalog entries), issued the prints in five volumes (shown below) during the period 1927-1928 ("和2-3" in their catalog entry), although it should be noted that other sources indicate up to ten volumes of prints were issued by this unknown publisher.

The Kataginu Prints

In March 1929, Yamaguchi followed his 100 print compendium with a portfolio of ten prints, each print picturing two designs for kataginu (the sleeveless robe with pointed shoulders used as a stage costume in kyōgen plays) titled "Kyōgen kataginu moyōshū" 狂言肩衣模様集 (Collection of Kyōgen Kataginu Designs), published by the Kyōto-based publisher 版畫會板元 Hangakai Hanmoto, as shown below.

Kyōgen kataginu are extremely important as attire for the Tarō Kaja character (typically a servant). Traditionally, there are certain patterns and designs used in kyōgen, determined by the school, as well as those designed according to the preferences of the main performer.[1]

[1] My rough translation from the table of contents.

The Kataginu Prints Grouped with Kyōgen Scenes

Shortly after the publication of the fifty prints depicting kyōgen scenes and the ten prints of kataginu designs, these 60 prints began to be grouped together in various configurations for sale, an example of which is shown below. 

The Second Edition - "Kyōgen-ga taikan"

In 1966, the Kyōto publisher Kyōto Shoin 京都書院, specializing in art books, issued a three volume work with the abbreviated title 狂言画大観 consisting of fifty prints housed in two chitsu boxes, along with a third volume titled "Kyōgen-chō" 狂言調 (Kyogen Style, referencing the particular intonation/pitch characteristic of Kyogen speech.) While different designs were used on the chitsu boxes housing the set, the contents of each appear to be identical, as shown below.

山口蓼州画 茂山千五郎監修『狂言画大観』（全2冊揃）昭和41年 京都書院刊 山口蓼洲 狂言師 狂言舞台

2冊 木版全50枚揃

Illustrations by Yamaguchi Ryūshū, Supervised by the kyōgen actor Shigeyama Sengorō (b. 1945), "Comprehensive Collection of Kyogen Paintings" (Complete in 2 volumes), Published by Kyōto Shoin in 1966 (Showa 41), Yamaguchi Ryūshū, Kyōgen Master, Kyōgen Stage

2 volumes, complete with 50 woodblock prints 

Prints in Collection

click on image to enlarge

SYNOPSIS OF THE PLAYS

Print 1: Asō 麻生 (Asō Has His Hair Fixed)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 31-32. 

Shite DAIMYŌ FROM SHINANO (ASŌ)

Ado TŌROKU

Koado GEROKU

Koado EBOSHI SELLER

A Daimyō name Asō call his servants Tōroku and Geroku and informs them that he has finished his business in the capital and that they will all go home today. Since they haven't been home for a long time, they are very happy. Tōroku suggests that since it has been a long time, the Daimyō should dress in the best ceremonial style for his return trip. The Daimyō agrees, but says he has not made such preparations. Tōroku and Geroku reply that they have made the necessary preparations, that the proper clothes are ready and that the eboshi (a ceremonial lacquered hat) has been ordered. The Daimyō says the hair style is very difficult to do and Tōroku replies that he has learned how to do it. The Daimyō, very happy at the efficiency of his servants, sends Geroku after the hat and orders Tōroku to fix his hair. The hair takes a long time during which the Daimyō asks about various things, such as the pattern and color of the new clothes, etc. Geroku has still not returned when Tōroku has finished fixing the Daimyō's hair, so he goes to search for him.

Geroku has received the hat on a stick because the lacquer was not yet dry. One the way home he loses his way. Tōroku runs into him and scolds him for forgetting the way to his own master's house. They enter a house and find it is the wrong one. Tus it turns out the Tōroku has also forgotten which house is their master's. This time Geroku does the scolding. They decide to put their problem in a song and in this way search for their master's house. The Daimyō hears them and rewards them with rice cakes for their cleverness.

Print 2: Oni shimizu 鬼清水 (Demon's Clear Water)

Source: translation of story summary appearing on goo blog at https://blog.goo.ne.jp/porima2/e/eebf70889dd3ce0e990f31a7e9f59226 [accessed 1-28-24]

Shite MASTER

Ado TARŌ  KAJA

Tarō Kaja, at the behest of his Master, was ordered to fetch clear water for a tea ceremony. Reluctant and fearful of demons emerging in the evening, Taro firmly declined. Nevertheless, his master accusing him of acting like a child handed him a treasured bucket and compelled him to go.

As Tarō went, he was attacked by a fierce demon, forcing him to abandon the bucket and return home. 

Upon realizing the loss of the treasured bucket, the master went in search of it. Tarō, anticipating this, disguised himself as a demon and frightened the master. Taking advantage of the situation, Tarō, in the guise of the demon, persuaded his master with favorable words and made him swear an oath.

However, upon careful consideration, the master recognized the similarity of Tarō's voice, exposing the ruse. Tarō, now revealed, was chased and forced to flee.

Print 3: Tsūen 通円 (Tsūen, The Tea Priest)

Source:  A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 271-272.

Shite GHOST OF TSŪEN

Waki PRIEST

Ai VILLAGER

This Kyōgen is a Nōgakari, meaning it is written in the form of a Noh Drama.

A Priest comes along the road to a tea house, and finds it without a priest in charge of making and serving tea. He asks the reason of a Villager who tells him that this tea house belonged to a Priest named Tsūen. It has been kept as a memorial since he died, and that today is the anniversary of his death. Then the Villager asks the Priest to pray for Tsūen's soul. The Priest begins to pray, and the Ghost of Tsūen appears, tells the story of his life, dances, and serves the Priest tea.

Print 4: Uri nusubito 瓜盗人 (The Melon Thief)

Source: Source:  A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 283-284.

Shite THIEF

Ado FARMER

The Farmer comes out to tend his melon patch, sees the melons are nearly ripe, and puts up a fence and a scarecrow to scare away birds and beasts.

A Man down on his luck, who is not really a thief at all, decides to try his hand at stealing melons. He breaks through the fence and begins looking for melons. It is night and he has trouble finding any. He has heard that the way to find melons at night is to roll around in the patch. He rolls around, finds several nice melons, and finally runs into the scarecrow. Thinking it is a real person, he begs for his life explaining he is not a real thief, but just a man down on his luck who has come to borrow a few melons. When the scarecrow doesn't move or answer, the Thief realizes his mistake. In anger at being tricked, he knocks the scarecrow down, pulls up the melon vines, and leaves with several melons.

The Farmer comes back the next morning, and finds that he has been robbed. Since a thief always returns to the scene of his crime, the Farmer dresses himself up as the scarecrow and waits. The Thief sure enough comes back for more melons, sees the scarecrow, but this time is not only not frightened, but since it is so well made decides to use it as his partner, and get in a little practice of the song and dance, which depicts a demon and a sinner in hell, which he will perform on a float in the coming festival. While he is thus playing with the scarecrow, he discovers his mistake, and takes off at a dead run with the Farmer close at his heels.

In the Ōkura script, the Thief has stolen melons from the same patch the night before, given them to someone who like them so well that they asked for more, so he has come back to fill the order. He jumps over the fence. Thus the night when the Farmer poses as the scarecrow is the third time the Thief comes. The rest is the same as the Izumi script.

Print 5: Bō shibari 棒縛 (Tied to a Stick)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 31-32.

Shite TARŌ  KAJA

Ado MASTER

Koado JIRŌ KAJA

Tarō Kaja and Jirō Kaja are great saké lovers and their Master has heard that they always steal his sake and get drunk when he is away from the house. He has hit upon a plan to prevent their getting to the saké this time. He calls Jirō Kaja and asks for his cooperation in tricking Tarō Kaja and tying him to a pole. Jirō Kaja reluctantly agrees and they call Tarō Kaja and ask him to demonstrate the use of the pole in self-defense. He is very proud of his ability in this art and while he is completely absorbed in his demonstration, they catch his hands and tie them to the pole across the back of his neck. Jirō Kaja is enjoying Tarō Kaja's plight when the Master sneaks up behind him and ties his hands behind his back. He explains the reason for what he has done and goes out on some business or other.

Tied up in this manner, they find they are even thirstier than usual, and decide to go to the saké cellar and at least smell the saké. This makes them still thirstier. Tarō Kaja hits upon an idea, gets a huge sake cup and ladles some saké out, tries to drink it, but since he can't get it to his mouth, holds it for Jirō Kaja to drink. When it comes Tarō Kaja's turn to drunk, he ladles the sake, then puts the full cup in Jirō Kaja's hands (which are tied behind his back), gets down on his knees and drinks.

They get very drunk and are singing and dancing when the Master comes home. He comes up behind them and they see his reflection in the saké cup on the floor between them. Thinking it is a hallucination, they make up an insulting song about the Master.

The Master chases them out of the saké cellar in a rage.

In the Ōkura script, the Master calls Tarō Kaja and asks him to cooperate in tying Jirō Kaja up. It is Tarō Kaja's idea to have Jirō Kaja perform with the stick and to tie him to it. The Master does not explain why he has tied them up, but they immediately guess the reason after he leaves. In the end the Master chases Tarō Kaja off, then threatens to beat Jirō Kaja, but Jirō Kaja gets loose and chases the Master off with his stick. The rest is the same as the Izumi script.

Print 6: Daikoku renga 大黒連歌 (Daikoku and the Poets)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 48-49.

Shite DAIKOKU

Ado WEALTHY MAN

Koado TARŌ KAJA

Tachishū SEVERAL VILLAGES

Every year at the time of the Mouse (ne) Festival, a group of Villagers gathers at a  Wealthy Man's house to celebrate and pray for good fortune for the coming year by composing a renga (a king of linked poem). They are gathered together and are in the process of poem making when a stranger appears. When asked to identify himself, he explains that he is Daikoku, the god of the festival. He praises them for their faithful service to him and promises them all prosperity. Then he dance and sings the poem they have composed and gives them gifts.

In the Ōkura script, two Worshippers go to the Daikoku Shrine on Mt. Hiei. They pray, then compose a renga. Daikoku appears to them, identifies himself, and tells them his life story in chanted narrative form (katari). He asks them to recite the renga they had composed once more. They sing the renga they had composed once more. They sing the renga and dance together. Daikoku rewards the Worshippers with gifts and blessings.

Print 7: Futari daimyō 二人大 (Two Lords)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 71-72.

Shite DAIMYŌ I

Ado DAIMYŌ II 

Koado PASSER-BY

Two Daimyōs go out together, but both of them have no servant to accompany them to carry their swords. One the raod they meet a Man of servant class and even though he is in a hurry on important business, they force him into service. In return the Passer-by threatens them with their own swords, forcing them to hand over not only their daggers, but their clothes as well. They look so comical in their underwear and tall black hats that he next forces them to pretend to be dogs fighting, then roosters fighting, then toys that when pushed over always return to an upright position. While they are rolling around on the ground as toys and signing the song he has taught them, he decides he has had enough fun, so he runs off with their possessions. They chase him off shouting that they have been robbed.

Print 8: Nikujūhachi 二九十八 (2918)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 197.

Shite MAN

Ado NEW WIFE

A Man goes to the Kiyomizu Temple to pray for a Wife. He is told in a dream that he will find her on the steps at the Western Gate. He finds her, and asks where she lives. She speaks in poetic riddles, and tells him that she lives in Muromachi Kasugamachi. He asks which house and she answers, "Two nine." He figures two nines make eighteen, goes to the eighteenth house and finds her there. He takes her hand and leads her happily to his house. He asks her to take off her veil, she refuses, he insists, and finally takes it off himself. He is surprised and disappointed when he looks at ther face, because she is very ugly. He runs off trying to get away, and she chases after him.

In the Ōkura script, the Man makes excuses trying to get away, but she won't let him go. He finally tells her she is so ugly he can't stand being near her, throws her down, and runs off. She gets up and chases out after hi.

Print 9: Kaki yamabushi 柿山伏 (The Persimmon Thief)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 120-121.

Shite YAMBUSHI

Ado PERSIMMON OWNER

A Yamabushi gets thirsty as he travels along, but there is nowhere to get a drink, so after making sure there is no one around, he climbs up a tree near the road to steal some persimmons.

The Owner comes along while the Yamabushi is still up in the tree. The Yamabushi hides among the branches, but can be clearly seen. The Owner decides to have some fun with im and says the thief in the tree is not a man, but a dog. If it is a dog, it will how. The Yamabushi howls like a dog. The Owner looks again and says it is not a dog, but a monkey. If it's a monkey, it should scratch itself and chatter. The Yamabushi scratches himself and chatters like a monkey. The Owner looks a third time, and says it's not a monkey, but a kite. If it is a kite, it should spread its wings and cry. The Yamabushi spreads out his fan and crys like a bird. The Owner says that after a kite spreads its wings and crys, it always flies away. The Yamagushi tries to fly, but instead simply falls from the tree and hurts his hip.

The Yamabushi demands that the Owner take care of him till his hip heals. The Owner refuses and the Yamabushi proceeds to pray him bad luck. The Owner, pretending to be affected by the prayer, staggers around and falls down at the Yamabushi's feet. The Yamabushi, gloating over his success, begins to order the Owner to do this and that. The Owner jumps up and chase shim off cursing at his impudence.

In the Ōkura script, the Yamabushi is hungry when he first appears. t firs tthe Owner says it is a crow, and forces the Yamabushi to caw like a crow. At the end the Onwer starts off, the Yamabushi prays him back and orders him to carry him. The Owner pretends to give in and lets the Yamabushi get on his back. The Owner throws the Yamabushi down after he has gone only a few steps, and runs off. The Yamabushi picks himself up and calls out after the Owner. "Treat a holy man like this, and you will have a black future!"

Print 10: Sōhachi 惣八 (A Priest and a Cook)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 249-250.

Shite COOK

Ado WEALTHY MASTER

Koado PRIEST

A Wealthy Master puts up a sign advertising that he wants to hire a priest and a cook. A Priest comes along who has been a cook till recently, but got tired of cooking and became a priest because it seemed like a simpler life. Next a Cook named Sōhachi, who has till recently been a priest, but since he became bored with the tedious work of a priest became a cook, arrives on the scene.

The Master hires these two, puts them to work, and goes out on business (in the Ōkura script he just goes to another room). The two confess to each other, and each begins teaching the other his new trade. The Master returns, and gets angry when he finds them doing each other's work. They get confused, pick up the wrong tools and begin to work. The Master scolds them and chases them off.

Print 11: Nabe yatsubachi 鍋八撥 (Pots and Drums)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 181-183.

Shite             SELLER OF EARTHENWARE POTS

Ado               OFFICIAL IN CHARGE OF THE MARKET

Koado           SELLER OF DRUMS

The Official appears and puts up a sign saying that the merchant who arrives first on the day of the local fair will be awarded the most desirable position for setting up his booth. A Drum Seller appears, and finding it still dark, confident of having been the first to arrive, decides to take a "cat nap" while waiting for the sun and the other merchants.

An Earthenware Pot Seller appears, and seeing the Drum Seller sleeping decides to try to cheat him out of the prize. He pretends to sleep.

When the official arrives, both claim to have arrived first. The Official asks for proof from both that their respective products a superior since he can't decide which is telling the truth. The Drum Seller recites a poem praising drums and the Pot Seller sings a song praising pots. Both poem and song are very good, so the decision is still not reached. The Official then decides that they must compete for the prize.

The Drum Seller is first, and presents feats which are easy for him but difficult for the Pot Seller. Finally the Drum Seller turn cartwheels off the stage. When the Pot Seller tries to do the same, he falls on his pot which breaks. He picks up the pieces and says, "What good luck! Now instead of one, I have man!" (In case the pot doesn't break he says. "This is certainly a well-baked pot. I will take it home and keep it as a treasure."

Print 12: Chidori 千鳥 (Catching Plovers)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 181-182.

Shite             TARŌ KAJA

Ado               MASTER

Koado           SAKE SHOP OWNER

The Master orders Tarō Kaja  to get a barrel of saké for the festival which is the next day. Tarō Kaja reminds him that he already has a big sake bill, but the Master insists that he get it somehow or other.

The Saké Shop Owner is determined not to be tricked this time.  Tarō Kaja, first of all, talks him into filling the barrel by telling him that several loads of rice are on their way from his Master to pay the bill.  The Owner insists that Tarō Kaja wait to leave until the rice arrives.

The Owner always enjoys hearing about Tarō Kaja's trips and adventures, so Tarō Kaja tells him about some children he saw recently catching plovers on a beach.  He gets the owner to participate in the story in the form of a song and dance game.  He tries to get away with the saké barrel by using it as a net, then as a plover.  The Owner tires of this game soon, so Tarō Kaja begins to demonstrate horseback archery using the barrel as a target.  He finally grabs the barrel and runs off.  The owner curses his luck at being tricked once more and chases out after Tarō Kaja. 

In the Ōkura script, the Master is going to have a party the same day for which he needs the saké. Tarō Kaja pretends he had the price of one barrel of saké which he planned to bring to the Saké Shop Owner, but since he can't find it, he decides he must have left it on a shelf at home. Tarō Kaja tells a story about hoeing int he mountains after the one about plovers, so there are three stories and games. The rest if the same as the Izumi script.

Print 13: Narihira mochi 業平餅 (The Poet and the Ricecakes)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 189-191.

Shite             NARAHIRA

Ado               RICE CAKE SELLER

Koado           PAGE

Koado           DAUGHTER (OF RICE CAKE SELLER)

Koado           RETAINER

Koado           RETAINER

Koado           RETAINER

Koado           UMBRELLA BEARER

Ariwara Narihira, a famous poet nobleman of the Heian Period, starts out with his entourage on a pilgrimage to Tamatsushima. They enjoy the scenery and compose poems as they go ahppily along. They reach a Rice Cake Shop near a beach, and Narihira decides to stop there for refreshment.

The Rice Cake Seller appears, and offers them his rice cakes. Narihira says, "You mean you will let anyone have your rice cakes?" The Rice Cake Seller replies, "Of course, if they put out the necessary cash." (Oashi means both "cash" and "foot.") Narihira sticks out one foot. The Rice Cake Seller laughts and says, "Not one foot, money!" (Ryōsoku means both "money" and "both feet.") Sarihira sticks out both feet. The Rice Seller explains that he must have legal tender which Narihira finally understands, and responds, "I never touch anything so filthy." (Noblemen of the period considered it very unsophisticated to even talk about money, let alone touch or carry it."

Narihira tells in a chanted narrative (Katari) how Ono Komachi, a famous and beautiful poetess, received rice cakes in payment for a poem which caused it to rain on a certain occasion. One the strength of this story, he offers a poem in payment of the rice cakes.

The Rice Cake Seller finally realizes who his customer is, and since Narihira is famous not only as a poet, but even more so as a lady's man, always on the lookout for attractive girls, asks him to take his daughter into service. Narihira urges the Rice Cake Seller to go fetch her immediately.

While the Rice Cake Seller is gone, Narihira, whose hunger at this point is much stronger than his interest in the girl, begins stuffing his mouth with the Rice Cakes. By the time the Rice Cake Seller returns with his daughter, Narihira is choking. The Rice Cake Seller tells him he should eat more slowly because he can have all the rice cakes he desires. He presents his daughter, and leaves her with Narihira so the two can get better acquainted.

When Narihira sees the girl's face, which is extremely ugly, he tries to pawn her off on his Umbrella Bearer, but the Umbrella Bearer doesn’t want her either. They try to get away, but she follows after them demanding justice.

Print 14: Kamabara 鎌腹 (Unsuccessful Suicide with a Sickle)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 124-125.

Shite           TARŌ

Ado             WIFE (OF TARŌ)

Koado          ARBITER

Tarō and his Wife are in the heat of most noisy quarrel. The Arbiter appears and tries to settle the fight. Both accuse each other of all sorts of laziness and uselessness. Finally Tarō takes his sickle, and says he is going to commit suicide by cutting his own stomach open for all to see what the ungrateful Wife has driven him to. She says, “Go ahead and cut yourself open, but no one is going to stay around to watch.” She drags the Arbiter off and leaves Tarō there alone.

Tarō is in a real fix because his threat was only to put his Wife in her place. He had no intention of dying. Now there is nothing to be done but to die, so he tries to figure some way of dying that won't hurt. He tries to fall on the sickle, but he can feel the wound before his stomach touches the blade. He tries to stab himself, holding the sickle in both hands, but says the sickle refuses to come near his stomach. He ties the sickle to a tree, put his arms around the tree and shoves his stomach against the sickle. He tries to run around the sickle from a distance, but this time his feet refuse to go all the way. He decides that his eyes are the problem, so he put his hands over his eyes, but still fails.

Each time he calls his Wife and the Arbiter and all his friends to come and watch, because this time he will die for sure. In the end, he decides the biggest problem is that there is no one around to watch him die. He decides to put off his suicide till another day when he has had time to think it over and plan it better. As for today, he decides to go to work. He asks a Passer-by to go tell his Wife he has given up suicide for today, so he is going to work and will be home at the regular time.

In the Ōkura script, the Arbiter talks Tarō into going to work as his Wife asked him to. Tarō agrees and starts off to work. One the way, he decides to commit suicide with his sickle because he is afraid that if his Wife gets angry again, she will murder him. He tries various suicide methods a in the Izumi script, but finally decides it is best to go to work and make up with his Wife that evening.

Just as he starts off to work, his Wife rushes in. She has heard he is trying to commit suicide, and has come to apologize and beg him to change his mind. He sees her coming and pretends that he is determined to go through with the suicide. No matter how she pleads, he won't change his mind till she finally says, "Well if you insist on dying, then give me a divorce first." He asks why, and she answers that she will jump in the river and die as soon as she receives the divorce. As this he finally agrees to give up his plan and accept her apology. She not only apologizes, but says she will do anything for him. He says, "In that case, commit suicide in place of me." and hands her the sickle. She grabs the sickle, begins screaming and stomping, and chases him off.

Print 15: Kintōzaemon 金藤左衛門 (A Bandit and a Girl) - the Ōkura school title is Yase Matsu (Skinny Pine)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 292-293.

Shite           MOUNTAIN ROBBER

Ado             WOMAN

A Mountain Robber, who is down on his luck, comes to a valley called Skinny Pine to see if he can find someone to rob. When Mountain Robbers have good luck, they say they found a Fat Pine, and when they have bad luck, a Skinny Pine. Since this particular valley is very lonely and they seldom have good luck here, the valley itself has been given the name Skinny Pine.

A Woman comes along, on her way to visit her parents, with a bag full of her personal belongings. The Robber jumps out at her and she drops the bag and runs. While the Robber is examining the contents of the bag, the Woman sneaks back, grabs the Robber's long spear, and threatens him with his life. She forces him to give her not only her own things, but his sword and clothes as well.

In a last attempt at a show of bravery, the Robber grabs the end of the long spear as the Woman starts to leave with her loot, but she is too fast for him. He chases off after her shouting, "Stop that Woman! She has robbed me of every- thing!"

In the Ōkura script, the Robber introduces himself as Kin-tōzaemon, and goes to the mountain. He does not give the name of the valley or mention Skinny Pine and Fat Pine. The rest of the story is the same as Yase Matsu except that the dialogue is much more detailed, thus making performance time almost double.

Print 16: Awataguchi 粟田口 (A Man Poses as a Sword)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 25-26.

Shite           DAIMYŌ

Ado             TARŌ KAJA

Koado SHYSTER

A Daimyō sends his servant to the capital to buy a Awataguchi (a famous make of sword). The servant, Tarō Kaja, reaches the capital, and realizing that he doesn't know what an Awataguchi is and since he forgot to ask the Daimyō, he begins shouting that he wants to buy an Awataguchi. A hyster appears and says that he is an Awataguchi. He explains that Awataguchi is the family name of a famous group of people living in the east part of the capital. He sells himself to Tarō Kaja and they proceed to the Daimyō's house.

The Diamyō doesn't know for sure what an Awataguchi is, but says he doesn't think it is a person and that he has a document which tells how to recognize a good Awataguchi. The Shyster agrees to be put to the test of the instructions. The first test is that there are two kinds, Tōrin and Tōma. The Shyster says that this name is Tōma. Next that the habaki is blakc. (Habaki means the piece of iron which holds a sword and its handle together, as well as meaning the black leggings worn for travel in those days). The Shyster points out that his leggings are not only black but very dirty. The next test is that a good Awataguchi has a mei (mei means "name" and also "niece"). The Shyster answers that he has an older sister and a younger sister and each of them has one daughter apiece so that he has not one but twonieces. The instructions say that an Awataguchi with two mei is especially fine quality. The last test is the mi is old (mi means "body." In the case of a sword it means "blade." Furui, the word for "old," at that time also meant "dirty"). The Shyster answers that he hasn't bathed since he was born so that he is quite dirty.

The Daimyō, confident that he has obtained the best possible Awataguchi, decides to let Tarō Kaja rest, and takes his new possession to show it off to his friends. The Daimyō is in such high spirits that one the way he entrusts the new servant with both his sword and his dagger. At this point the Shyster decides it's best for him to disappear while the disappearing is good, and takes off with the Daimyō's sword and dagger. The Daimyō runs off searching for him singing sadly that he has been tricked.

Print 17: Funa watashi muko 船渡聟 (The Groom in the Boat)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 67-68.

Shite           GROOM

Ado             BOATMAN FROM YAWASE (FATHER-IN-LAW)

Koado MOTHER-IN-LAW (BOATMAN'S WIFE)

A newly married Groom goes to make his ceremonial first visit to his Father-in-law's house. On the way he must cross a river, so he calls a boat. The Boatman insists on, and finally threatens the Groom until he agrees to let the Boatman have a drink of the saké he is taking as a gift to his Father-in-law. By the time they reach the opposite shore, the Boatman has drunk all the saké. The Groom reaches his destination. His Mother-in-law goes to call the Father-in-law who happens to be the Boatman who drank all the saké. The Mother-in-law, when she hears this, insists that the Father-in-law shave his beard so the new Groom will not recognize him as the same man (she has, by the way, been trying to talk him into shaving this beard for a long time). The Father-in-law objects, but she finally wins the argument and shaves it for him. But all the fuss has been for nothing, because when the Groom sees the Father-in-law's face, he immediately recognizes him as the Boatman and asks why he has shaved his beard. The Father- in-law apologizes for his misconduct. He is forgiven and they do a song and dance in celebration of the happy occasion.

In the Okura script, the Boatman and the Father-in-law are two separate characters and the Mother-in-law does not appear. In her place Tarō Kaja appears. The Groom drinks with the Boatman, and they sing and dance together. When the Groom reaches the Father-in-law's house, he gives the saké barrel to Tarō Kaja who discovers it is empty. The Groom is so embarrassed that he runs off. The Father-in-la and Tarō Kaja try to call him back, exclaiming that it doesn't matter that it is empty.

Print 18: Kirokuda 木六駄 (The Half-Delivered Gift)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 143-145.

Shite           TARŌ KAJA

Ado             MASTER

Koado TEA SHOP OWNER

Koado UNCLE

It is the end of the year, and the Master orders Tarō Kaja to take six ox loads of firewood and six ox loads of charcoal plus a barrel of saké and a letter to his Uncle in the capital. Tarō Kaja objects that this is too much for one person to be responsible for, and besides it is much too cold to go out. The Master reminds him that there are no other servants in the house, and promises him especially warm clothes to wear.

When he reaches the mountain pass, it is snowing heavily, and he has a rather hard time herding the twelve oxen, keeping them in line, keeping their snow shoes on them, etc. He finally reaches the top with all twelve oxen. He stops at the tea shop on the top of the mountain to rest and get warm. Since he makes this trip every year, he has become friends with the Tea Shop Owner.

The Tea Shop Owner offers him tea, but he wants saké. The Owner apologizes saying that with all this snow, he hasn't been able to get any saké delivered, so he is out. Tarō Kaja is very disappointed. The Owner suggests that Tarō Kaja have a drink from the sake barrel he is carrying, and they can fill it up with water afterward. He at first objects, but is easily convinced.

Tarō Kaja drinks a few, then offers the Tea Shop Owner a drink. They begin to enjoy themselves drinking, singing, and dancing, till before they realize it, they have drunk all the saké. Tarō Kaja, now in high spirits, gives the empty barrel and the six ox loads of firewood to the Owner, and staggers on his way with the remaining six oxen.

He reaches the Uncle's house, and gives the Uncle the letter. When he is asked about the six oxen carrying firewood, he explains that he has changed his name to Kirokuda (meaning "six oxen carrying fire wood"), so the letter is referring to him. When asked about the saké he explains that it was s0 cold, that he drank it all at the tea shop on the mountain pass. The Uncle chases him off in a rage.

In the Okura script, the gift for the Uncle who lives not in the capital, but on the other side of the mountain, is only the barrel of saké and six oxen carrying poles to be used in building a new house. This is not a yearly gift, but is in celebration of the Uncle's new government position. The Master encourages Tarō Kaja to go by letting him drink plenty of saké before he starts on the trip.

The Uncle hasn't heard from his Nephew for a long time, so he decides to go see him. He stops at the tea shop on top of the mountain to rest and get warm. The Uncle is resting in an inner room when Tarō Kaja reaches the same tea shop.

The drinking party with the Tea Shop Owner and the gift of the six oxen carrying the poles is the same as the Izumi script. After the Tea Shop Owner receives the gift, he leaves Taro Kaja and the Uncle in the tea shop. Tarō Kaja is by this time so drunk he doesn't know what is going on, and falls asleep on the floor.

The Uncle comes out, and finds Tarō Kaja asleep on the floor. He wakens Tarō Kaja, and Tarō Kaja gives him the letter. The rest is the same as the Izumi script.

Print 19: Shūron 宗論 (A Religious Dispute)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 249.

Shite           NEMBUTSU PRIEST (JŌDO)

Ado             HOKKE PRIEST

Koado INNKEEPER

Two Priests meet on the road to the capital, and decide to travel together, but when they discover they are of different sects, the Nembutsu Priest decides to tease the Hokke Priest who wants nothing better than to be left alone, and to get away from the Nembutsu Priest as quickly as possible.

The Nembutsu Priest teases the Hokke Priest by blessing him with his rosary, and the Hokke Priest does the same in return, but not in fun. He tries to get away by sneaking into a house by the road, and asking for lodging, but the Nembutsu Priest finds him, and requests lodging in the same house.

They try to convert each other, but the Hokke Priest soon gets bored and goes to sleep. The next morning, they try to out pray each other with their morning prayers, till the noise reaches such a point that they get confused and begin saying each other's prayers. When they realize what has happened, they are both embarrassed, become friends, and go off singing and dancing together.

Print 20: Oni no mamako 鬼の継子 (The Demon's Stepchild)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 210-211.

Shite           DEMON

Ado             WOMAN

A Woman, whose husband Saburō Togō died the previous year, has found it too hard to support herself and her baby, and has decided to go home to her parents. On the way she comes to a very lonely place in the road at about dusk. Suddenly a Demon jumps out, and threatens to eat her. She explains who she is, and begs for her life. The Demon says he knows her husband because it is his duty to torture Saburō Tōgo in hell. The Woman asks about her husband, and pleads with the Demon to intercede with Emma, the King of Hell, to have Saburō Tōgo sent to heaven. The Demon agrees on the condition that she will become his wife. She is reluctant at first, but finally agrees. He says she can't go with him as she is, and orders her to dry her tears, and make herself pretty. She gives him the baby to hold while she fixes herself up. At first he thinks the baby looks very tasty, but she reminds him it is now his own child. He begins to act like a human being, and plays with the child, but finally decides it is too tasty looking a morsel to miss, gets ready to eat it, and the Woman runs off crying for help.

In the Okura script, no mention is made of the Woman's husband (except for the fact that she had been married). She agrees to marry the Demon to save her baby's life and her own. The rest is the same as the Izumi script.

Print 21: Sue-hirogari 末広がり (An Umbrella Instead of a Fan)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 251-252.

Shite           MASTER

Ado             TARŌ KAJA

Koado SELLER OF UMBRELLAS

The Master sends his servant Tarō Kaja to the capital to buy a suehirogari. Suehirogari is just another word for fan, but Tarō Kaja does not know this. He reaches the capital and realized that he has come without asking for a description of the thing he is supposed to buy, so he begins shouting that the wants to buy a suehirogari.

A dishonest Umbrella Seller realizes Tarō Kaja's lack of knowledge and sells him an old umbrella. The Master has ordered a suehirogari with good strong paper, polished bones, and pictures painted on it. (zare-e meaning 'pictures' can also mean a handle to strike with.) The Umbrella Seller explains that this umbrella has all these things, and demands an exorbitant price. As a speical service, the Umbrella Seller also teaches Tarō Kaja as song to make his Master feel good when he becomes unhappy. Tarō Kaja returns home, and is, of course, scolded for his mistake, and is chased out of the house. He begins singing and dancing the song he was taught, the Master hears him, comes out to watch and finally begins dancing with him. After the sing and dance, he rewards Tarō Kaja for his cleverness.

Print 22-23: Tōjin Zumō 唐人相撲 (Chinese Sumō)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 270-271.

Shite           EMPEROR OF CHINA

Ado             JAPANESE SUMŌ WRESTLER

Koado INTERPRETER

Tachishū TWO OR FOUR CHINESE CHILDREN

Tachishū SEVERAL CHINAMEN

A Japanese Sumo Wrestler, having been in China for a long time, becomes homesick, and decides to return to Japan. He goes to ask permission from the Emperor. The Emperor grants the permission, but orders that he wrestle once more before he leaves. The Wrestler consents, and prepares himself for the match. He beats all the Chinese present, and finally the Emperor decides to wrestle, and is also beaten, and carried off by his retainers.

This Kyōgen is seldom performed because of the number of performers necessary. The unusual point of interest is that the Chinese all speak in meaningless Chinese-like sounds, and the Interpreter translates this into Japanese.

Print 24: Sora Ude 空腕 (The Brave Coward)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 250-251.

Shite           TARŌ KAJA

Ado             MASTER

Tarō Kaja, who is actually a terrible coward, has a bad habit of bragging about his bravery and prowess. His Master decides to cure him of this habit, so he sends Tarō Kaja out to get some fish about dusk. Since he must pass along a rather long lonely road, he asks to borrow his Master's sword.

Just as he reaches the loneliest part of the road, he is frightened first by a thicket, and then simply by shadows which he imagines to be a group of evil men, and offers the sword in return for his life. The Master, in the meantime, has gotten worried about him, and going out to look for him, finds him grovelling in the dust offering up the sword as ransom. The Master grabs the sword and taps Tarō Kaja on the back, at which, thinking he has been sliced in two, he falls into a dead faint. The Master goes home to wait for his return.

When Tarō Kaja comes to, he at first thinks he has died and is in heaven, but soon recognizes his surroundings, discovers he is not even wounded, and takes off for home as fast as he can run.

The Master asks for the sword and Tarō Kaja proceeds to tell a long gory story of the terrific fight he had with dozens of samurai in which he fought so hard and killed so many that the sword broke in two and he threw it away.

The Master shows Tarō Kaja the sword, and he marvels that it is in one piece again, saying that it must be a miraculous sign of good luck. The Master tells him what really happened, and scolds him soundly.

Print 25: Shidō hōgaku 止動方角 (Shidō hōgaku, the Horse)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 243-244.

Shite           TARŌ KAJA

Ado             MASTER

Koado UNCLE OF MASTER

Third Koado HORSE

The Master orders Tarō Kaja to go borrow a box of tea, a sword, and a horse from his Uncle because he has a tea ceтеmony meeting to attend. Tarō Kaja objects that one person cannot possible bring all those things at one time, but since the Master has no other servants, he insists that Tarō Kaja go alone.

The Uncle willingly lends all the things the Master ordered, but reminds Tarō Kaja to make sure these things are returned after the Master is finished with them, because he has never returned anything he has borrowed before. Tarō Kaja as sures him that he himself will make sure everything is returned.

The Uncle also tells him that the Horse has a bad habit of rearing whenever someone coughs behind it, and teaches Tarō Kaja the magic words necessary to quiet the Horse, which includes the Horse's name, Shidöhögaku.

The Master gets impatient, and goes out to look for Tarō Kaja, and they meet on the road. The Master, in a rage, shoves Tarō Kaja off the Horse, and jumps on himself, then changes his mind, and says to walk behind, then ahead again, once more behind, all the while complaining about everything.

Tarō Kaja gets fed up with the whole affair, goes behind the Horse and coughs. The Horse immediately rears, and throws the Master. Tarō Kaja immediately calms the Horse with the magic words.

The Master somewhat humbled by the fall refuses to ride the Horse, orders Tarō Kaja to ride it, and takes the sword and tea box, and begins carrying them himself.

Tarō Kaja feels so important riding the Horse that he says he would like to know what it feels like to be a Master. The Master says that since they have changed positions, they might as well changes roles for a while, since there is no one else in the area.

Tarō Kaja is shy at first, but soon gets the feel of his assumed role, and repeats word for word and insult for insult the tirade his Master had just before poured out at him. This makes the Master even angrier than before, so he kicks Tarō Kaja off the Horse, and jumps on its back once more. Tarō Kaja, surprised and angry, goes behind the Horse and coughs. The Horse throws the Master and runs away. Tarō Kaja begins to repeat the magic words over the fallen Master who gets up and chases Tarō Kaja off.

Print 26: Futari-bakama 二人袴 (Two-in-One Hakama)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 70-71.

Shite           GROOM

Ado             FATHER-IN-LAW

Koado TARŌ KAJA

Third Koado FATHER OF THE GROOM

A Groom prepares to make his ceremonial first visit to his Father-in-law. He is very shy and insists that his Father go with him. His Father goes with him as far as the front gate of the Father-in-law's house and plans to wait there for him. Tarō Kaja sees the Father, informs the Father-in-law, and the Father-in-law asks to see the Father too. They have only brought one hakama so the Groom takes it off and the Father puts it on and appears before the Father-in-law. This exchange is performed several times till the Father-in-law finally insists that they appear together. They tear the hakama in two and appear with only a half a hakama in front of each of them. They perform the ceremony, drink and begin to dance. In the dances, the Father and the Groom never make any turns except when the Father-in-law and Tarō Kaja aren't looking. The Father-in-law suggests that they all three dance together and while they are dancing, Tarō Kaja discovers that the Father's and the Groom's hakama are only half a hakama each. They are embarrassed, throw the hakama over their faces and run off. The Father-in-law tries to call them back saying that they shouldn't worry about a little thing like that.

Print 27: Neongyoku 寝音曲 (Horizontal Singing)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 196-197.

Shite           TARŌ KAJA

Ado MASTER

The Master happened to pass by Tarō Kaja's room the previous night and heard him singing in a loud clear voice. He calls Tarō Kaja and orders him to sing. Tarō Kaja says the only time he can sing is when he is drunk, so the Master brings out saké. Tarō Kaja drinks and drinks, but doesn't offer to sing. When the Master reminds him that he is to sing, Tarō Kaja says that after getting drunk, he must lie down with his wife's knee for a pillow in order to be able to sing. The Master offers his own knee, Tarō Kaja pretends his Master is his wife, and sings a very short song.

The Master orders him to try to sing sitting, then standing, but he preetnds not to be able to make a sound. The Master is determined to hear him sing once more, so he offers his knee again.

While Tarō Kaja is singing, the Master makes him sit up, and he stops, lays him down again, and he begins again. The Master does this several times, and with increasing speed, till Tarō Kaja gets dizzy and begins to sing when he is up and stop when he is down. Finally he stands, and does a dance while singing.

The Master chases him off scolding him for lying.

Print 28: Ishigami 石神 (The Stone God)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 109-110.

Shite           MAN (TARŌ)

Ado FRIEND

Koado WOMAN (WIFE OF TARŌ)

A Man goes to his Friend's house to ask for advice because his Wife has threatened to leave him on account of his drinking habits. The Friend says the only way to solve the problem is to promise to stop drinking. The Man gladly promises to do so.

The Woman comes also for advice. The Friend tries to convince her to reconsider, but she is adamant. The Friend then advises her to at least go to the temple at Izumo, and ask the Stone God for advice.

As soon as the Woman leaves, the Friend dresses the Man up as the Stone God, and sends him to the temple to make sure his Wife gets the correct advice. The Woman arrives at the temple, and thinking she is praying to the Stone God, asks it to stand up if she should stay with her husband. The Stone God (actually the Man) immediately stands. The Woman decides to test it once more. This time she says if she should stay with her Husband, to stay seated. The Man sits as motionless as a rock. The Woman is disappointed, but since it is the will of the Stone God, she promises to go back to her Husband. She dances a ceremonial dance in thanks for the advice. The Man becomes interested in her dance, takes off the god-mask to see her better, and finally begins to dance with her. She discovers him, and chases him off scolding all the way.

Print 29: Hana nusubito 花盗人 (The Flower Thief)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 82-83.

Shite           THIEF

Ado GARDEN OWNER

The Garden Owner complains that some of his cherry blossoms were stolen the night before. Since a thief usually returns to the scene of his crime, the Man decides to hide in the garden and ambush the Thief.

Sure enough, the Thief comes back for another branch. The Owner jumps out, catches him, and ties him up. The Thief composes a poem in his sadness. The Garden Owner, also a lover of poems, answers with another poem. They begin enjoying their poetic conversation. The Owner releases the Thief and brings out saké. They proceed to get drunk together and become good friends. Finally the Thief gets ready to leave and the Garden Owner presents him with a large branch of cherry blossoms and invites him to come back again soon.

In the Ōkura script, the Garden Owner brings a group of Friends to see his flowers. They discover a branch has been stolen and all wait in hiding for the Thief to return. The Thief is an Acolyte. At the end the Acolyte breaks another huge branch off while he is dancing and runs off. The Garden Owner and his Friends chase out after the Acolyte.

Print 30: Fuku-no-kami 福の神 (The God of Happiness)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 61-62.

Shite           GOD OF HAPPINESS

Ado WORSHIPPER I

Koado WOSHIPPER II

At the end of every year, two Worshippers go the the Grand Shrine at Izumo to pay their respects to the God of Happiness. They are throwing beans while chanting "in with happiness" and "out with devils," when the God of Happiness appears and identifies himself. He asks them if they know how to find happiness and they answer, "With money." He says that it is not money, but the way of life upon which happiness depends. After talking to them, he says he is thirsty and asks for wine which they gladly serve him. He dances and sings a song which tells them that the way to find happiness is to make a happy home with one's wife, get up early, and welcome guests with good wine.

In the Ōkura script, the God of Happiness asks for wine as soon as he appears. The two Worshippers ask him how to find true happiness, and he tells them it is not with money and worldly things, but by having a pure heart. The rest is the same as the Izumi script.

Print 31: Fuzumō 文相撲 (Wrestling by the Book)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 65-66.

(Fuzumō is the Ōkura title. Fumizumō is the Izumi title)

Shite           DAIMYŌ

Ado             TARŌ KAJA

Koado SUMŌ WRESTLER

A Daimyō sends his servant Tarō Kaja out to look for a man to hire as a new servant. Tarō Kaja finds a Sumō Wrestler and brings him home. The Daimyō decides to wrestle with him to test his ability. He uses a throw that the Daimyō doesn't know, so the Daimyō looks it up to find if it is really according to the rules. This happens two or three times till the Wrestler finally gets impatient and throws the Daimyō while he is reading his book of rules. The Daimyō doesn't want to admit defeat, so he throws Tarō Kaja, who has no experience in sumō, and goes off declaring, "I've won! I've won!"

In the Ōkura script, the Wrestler wins once, the Daimyō looks up the throw, the Daimyō wins the second time, and when the Wrestler wants one more round the Daimyō tells him he had better write his will. The Wrestler says the Daimyō should write his own. The Wrestler wins the third round and leaves. The rest is the same as the Izumi script.

Print 32: Busu 附子 (The Delicious Fatal Poison)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 38-39.

Shite           TARŌ KAJA

Ado MASTER

Koado JIRŌ KAJA

The Master leaves Tarō Kaja and Jirō Kaja in the house and goes out on some business or other telling them that there is a fatal poison called Busu in a certain container, and that if they so much as get in the breeze that blows across it, they will die immediately.

After the Master leaves, Tarō Kaja gets very curious about what the Busu looks like and talks the very reluctant Jirō Kaja into fanning the breeze in the opposite direction while he takes a look at this fatal poison. When he gets the lid off and sees it, he notices that it looks and smells as though it would be good to eat, so he decides to taste it. Ever cautious Jirō Kaja tries to stop him, but he persists and finds that it is only dark sugar (sugar was extremely scarce in the Muromachi Period, thus it was considered quite a treasure). Jirō Kaja joins him and before they know it, they have eaten it all up.

They wonder what they should do because the Master will surely punish them severely when he finds his precious sugar all gone. Tarō Kaja hits upon an idea, has Jirō Kaja tear the hanging scroll, then helps him break a valuable tea cup.

When the Master returns, they are both weeping inconsolably. He asks them what is wrong and they tell him that they decided to wrestle to kill time. During the match one of them happened to grab the hanging scroll and tore it, then the other fell right on top of the tea cup and smashed it to bits. Since both were the Master's prized possessions, they were sure he would kill them both for destroying them, so they decided to die by eating the poison. They sing a song about how they ate and ate till it was all gone, but it didn't take effect, so here they are.

The Master chases them off in a rage.

Print 33: Kagami otoko 鏡男 (The Mirror)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 117-118.

Shite           MAN FROM ECHIGO

Ado MIRROR SELLER

Koado WIFE (OF SHITE)

A Man from Echigo has finished his business in the capital, and on his way home, he remembers that he had promised to take a souvenir back to his Wife. He stops by a market and the Mirror Seller sells him a mirror. He has never seen a mirror before, and is completely fascinated with it. He looks at his own face, tries several expressions, and decides that he must never get angry, because his face when he is angry frightens even himself. He thinks his Wife will be very pleased, because she will be able to make herself beautiful every day.

He reaches home. His Wife is very happy to see him. He gives her the mirror, and when she looks in it, she sees another woman. This makes her very angry, and no matter how he tries to explain, she will not believe that it is her own face she is seeing, since she also has never seen a mirror before. He takes it away from her saying if she doesn't appreciate it, he will give it to someone else. She chases him off scolding, still believing he has brought home another woman.

The Ōkura script begins after the Man has bought the mirror. The Mirror Seller does not appear. The rest is the same as the Izumi script.

Print 34: Kōya kuneri 膏薬煉り (The Glue Fight)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 156-157.

Shite           KYŌTO MAN

Ado KAMAKURA MAN

A Glue Maker from Kamakura, and one from Kyōto have heard of each other's fame and set out to meet and see which glue is the strongest. They meet unexpectedly on the road, and decide to have their contest then and there.

First they tell each other the history of their own glue. The Kamakura Man tells the story of run-away horse which was forced to come back simply by the strength of a small amount of his glue placed on the finger of one of his ancestors pointed in the direction the horse had run away. As a result of this demonstration, his glue was named "Horse Pulling Glue." The Kyōto Man tells of a huge boulder which was dragged by a huge number of men as far as the gate of the garden in which it was to be used, but was to big to go through the gate, so one of his ancestors made it fly over the wall by placing a little of the glue on his finger and a little on the stone. Thus his glue was named "Boulder Pulling Glue."

Next they discuss the ingredients used in their glues. The Kamakura Man claims that besides the usual ingredients, he uses the eyelashes of a thunderbolt, bamboo sprouts that grow in the sea, and an eighteen inch fang of a flea. The Kyōto Man claims that besides the usual ingredients, he uses a flying snapping turtle, a clam that grows on a tree, and a snow flake that has fallen on June thirteenth baked till it is black. (The ingredients sometimes vary.)

Both are impressed by the other's bragging, and next they decide to have a contest to see whose is the strongest. Since their ancestors used their fingers, they decide to try something new and put the glue on their noses, then see which can throw the other first. Both put up a good fight, but the Kamakura Man is finally thrown. The Kyōto Man goes off rejoicing at his triumph. The Kamakura Man picks himself up, and chases after the Kyōto Man shouting, "No fair! I slipped on a piece of resin. I demand another chance!" 

Print 35: Kaminari 神鳴 (Thunder)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 125-126.

Shite           THUNDER

Ado QUACK DOCTOR

A Quack Doctor, on his way to Edo from the capital, comes to the Musashi Plains, and it begins to cloud over. Suddenly there is a loud noise, and Thunder stumbles through a hole in the clouds, and falls to the earth in the Doctor's path.

The Doctor is frightened out of his wits when Thunder demands his services. The Doctor examines him, and finds he has a cold and has hurt his hips in the fall. He administers cold medicine which Thunder complains is bitter, and acupuncture in both hips during which Thunder constantly complains about the pain. The Doctor assures him that even human beings can take this much pain.

Thunder gets up and prepares to leave. The Doctor demands his pay, and Thunder promises him good weather for the years to come for him and his relatives, then goes noisily on his way.

Print 36-37: Kurikuma Shinmei 粟隈神明 (The Unsuccessful Tea Shop)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 125-126.

(Kurikuma Shinmei is the Ōkura school title, while Imajimmei is the Izumi school title)

Shite           HUSBAND

Ado WIFE

Koado FIRST WORSHIPPER

Tachishū SEVERAL WORSHIPPERS

A Husband and Wife, who seem to have bad luck no matter what they try to do to make a living, decide to take advantage of a new deity which has appeared in Uji and set up a teashop near the sacred area.

They do their best to attract customers, but since they only have one tea cup the tea is always dirty, since they don't have a big enough burner they can't keep the tea hot enough, since their tea is poor, and the Wife is much to ugly to attract customers, they fail once more in their attempt to make a living.

They break their utensils, throw them away, and start toward home singing sadly about their poor state of affairs.

In the Ōkura script, at the end the Man throws his Wife down complaining about her inability to attract customers. She get up, picks up a stick, and chases him off.

Print 38:Tsuri-gitsune 釣狐 (Fox Trapping)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 276-277.

Shite           FOX

Ado TRAPPER

An Old Fox changes himself into the Trapper's Uncle Hakuzōsu, who is a priest, and goes to the Trapper's house to warn him against trapping foxes. He tells the Trapper a long story about foxes who changed into people and took revenge in various ways. The Trapper promises to stop trapping foxes, and throws away his traps.

On the way home, the Fox finds one of the traps in the middle of the road, set and baited with fried mice. He wants to eat the bait, but decides to go home and change himself back to his original form before he tries to steal it.

In the meantime, the Trapper comes out to look at the trap he had supposedly thrown away, and finds paw prints all around it. He realizes that Hakuzōsu was actually the Old Fox he has been trying to catch. He is sure the Old Fox will return for the bait, se he waits behind a tree.

Sure enough the Fox comes back, tries to get the bait, and gets caught, but before the Trapper can get to h im, he gets loose again, and runs away. The Trapper takes off after him yelling, "Somebody help me catch the sly Old Fox. 

Print 39: Koshi inori 腰祈 (The Back-Straightening Prayer)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 155.

Shite           GRANDFATHER

Ado YAMABUSHI

Koado TARŌ KAJA

A Yamabushi goes to visit his Grandfather for the first time since he has become a Yamabushi. His Grandfather is very old and bent, so the Yamabushi proceeds to demonstrate his newly gained powers by praying the Grandfather's back straight. On the first attempt, the prayer is too strong so that the Grandfather can only see straight up. The next prayer, again too strong, brings the Grandfather to his knees, his back more cramped than before. The Grandfather begins to wonder if he will live through the "cure," insists on being returned to his original state, and when he can move again, chases the Yamabushi off, scolding him for treating poor old Grandfather so roughly.

Print 40: Niō 仁王 (The Fake Deva King)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 197-199.

Shite           MAN (NIŌ)

Ado FRIEND (OF SHITE)

Koado CRIPPLE

Tachishū SEVERAL WORSHIPPERS

A Man who loves to gamble has had a run of bad luck and lost everything he owns. He decides to leave the country and try to make a living somewhere else. Before he goes, he stops by to tell his best Friend good-bye.

The Friend suggests that they dress him up as a Deva King (niō), put him in a deserted area, and he himself will go tell everyone that a statue of a Deva King with magic powers has descended from the heavens. People will then come to pray and bring gifts. The Man thinks this is a good idea, but before the Friend will help him carry it out, he makes him promise to give up gambling, and take up some honest profession.

They dress him up, set him up as a statue in the deserted area, and the Friend brings a group of Worshippers who pray and leave various gifts. After they have gone, the Friend takes the gifts home saying the news will spread, and there will undoubtedly be more worshippers soon.

Presently a Cripple comes who believes that if one rubs the various parts of a sacred statue, then rubs the same parts of one's own body, one will become well and strong. He begins rubbing the Deva King's body here and there. The Man who is the statue is very ticklish, so he isn't able to hold still. The Cripple discovers the truth, and chases the Statue off yelling, "Fake! Fake!"

In the Ōkura script, the first group of Worshippers comes back a second time bringing the Cripple. They notice that the Statue moves when the Cripple rubs it. They discover the truth, tickle him, then chase him off. The Cripple limps off last, shouting. "Treating a poor Cripple this way will give you nothing but bad luck in the future!"

Print 41: Imamairi 今参 (Hired for a Riddle)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 100-101.

Shite           DAIMYŌ

Ado TARŌ KAJA

Koado IMA MAIRI

A Daimyō calls his servant  Tarō Kaja and says he wants to hire more servants. Tarō Kaja asks how many, and the Daimyō says eight thousand. Tarō Kaja says that's too many. The Daimyō says two hundred and Tarō Kaja still obejcts. The Daimyō says one and sends Tarō Kaja out to the highway to look for a talented man to hire.

Tarō Kaja soon finds a Man and since the Daimyō is fond of shūku  (a kind of double entendre riddle), Tarō Kaja teaches the new Man a few on the way home, but in the interview with the Daimyō, he forgets and gets them all mixed up. The Daimyō gets angry, so Ima Mairi (the new servant) explains that in his  home town they do riddles to a rhythm, and if the Daimyō will try this method, he is sure he will do much better. The Daimyō agrees, they do several riddles this way, and finally begin a kind of dance. The new Man is hired and everyone is happy.

Print 42: Igui 居杭 (Igui, the Disappearing Boy)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 98-99.

Shite           IGUI

Ado WOMAN (DRUNKARD'S WIFE)

Koado FORTUNE TELLER

A young boy named Igui is in the habit of visiting a Man's house where they treat him very well except for the fact that everyone pats him on the head. He doesn't like being patted on the head, so he goes to a shrine and prays for some solution for his problem. He is presented with a cap and told to put it on whenever someone pats him on the head.

Igui goes to visit the Man and sure enough gets patted on the head. He puts the cap on, and finds he is invisible. He is enjoying himself appearing and disappearing when the Man calls in a Fortune Teller to help him find Igui who has stayed invisible for some time.

The Fortune Teller is quite skillful and is able to tell exactly where Igui is, but when they try to catch him, he always moves. Finally the Man loses faith in the Fortune Teller and begins to get angry.

Next Igui steals the Fortune Teller's equipment, and throws it at the two a piece at a time making them more and more irritated. Then he begins pinching their noses and pulling their ears. They, of course, accuse each other of these things, really get angry and start to fight. Igui sees that the fun is over, takes off his cap and says, "Here I am! See if you can catch me!" He takes off at a dead run, and the Man and the Fortune Teller join forces and chase out after him.

Print 43: Dontarō 鈍太郎 (Dontarō's Method for Handling Women)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 98-99.

Shite           DONTARŌ

Ado WIFE

Koado MISTRESS

Dontarō has been away from the capital for three years and during this time has made a fortune, but has not corresponded with his family at all. He is now on his way home and worried about the reaction of his family, but confident they will be happy when they see the fortune he has brought with him.

He reaches his Wife's house, but when he asks to be allowed to enter, his Wife doesn't believe it is really him, and says she has taken a man who fights with a stick as her husband, and if Dontarō tries to get in, he will be beaten by her new husband.

At this Dontarō is unhappy on the one hand because he was anxious to see his son, but happy on the other hand, because now he is free of his ugly Wife and can go to live with hu beautiful Mistress. He goes to his Mistress's house and gets the same treatment. His Mistress says she has taken a halberd expert as her new husband. Dontarō decides it is useless to fight or beg any longer, so he decides to give up his secular life and become a monk. He makes this decision and goes off to put it into effect.

The next morning the Wife and the Mistress both discover their mistake. They both actually did not believe it was Dontarō because the children in their respective neighborhoods had often played tricks on them saying Dontarō had come home. Both assume he is now at the other house, so they both leave their own homes at the same time to go apologize and make their peace with Dontarō. They run into each other on the way, explain to each other what they have done, and decide that the rumor, which they have both heard, that Dontarō is going to become a monk, must be true. They are sure he will pass this particular spot, so they decide to wait together and try to persuade him to forgive them and change his mind.

Dontarō appears, lamenting his fate and reciting sutras through his tears. He pretends not to recognize the Wife and Mistress when they try to stop him, saying that his Wife and Mistress have both taken other men while he was gone, so they must be someone else's wife and mistress.

The Wife pleads with him explaining that the two have united their efforts to get him back. Dontarō answers that if this uniting of efforts means they will accept each other and not give him any more trouble, he will come back. They readily agree.

Dontarō says, "All right, I will stay with my Mistress twenty-five days of the month and with my Wife five days of the month (Okura script twenty and ten days). His Wife immediately objects angrily. He begins reciting sutras again. The Mistress then pleads with him saying, "Yes, that is quite unfair. Please come back and stay half the month in each place." The Wife agrees, but insists that the first half of the month must be at her place. Dontarō says that he is the one to decide which half where, and if his decision is not satisfactory he won't return. He begins reciting sutras again.

They both plead again saying they will agree to anything he says. He says if that is the case he will spend the first fifteen days of the month with his Mistress and the last fifteen days of the month with his wife. He commands them to make a chair with their hands and carry him home on it. Then he makes up a song stating that this is the Hand Chair of Sir Dontarō and orders them to sing it loudly as   go along. They carry him off in a state of agreement and family bliss.

Print 44: Fumi yamadachi 文山立 (The Cowardly Bandits)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 64-65.

Shite           BANDIT I

Ado BANDIT 2

Two cowardly Bandits quarrel over a misunderstanding in signals. They threaten to kill each other and begin to fight. They stop when they are about to fall into a thorn patch saying that that would hurt too much. They start their fight again and stop when they are about to fall over the edge of a to cliff saying that that would break all the bones in a man's body.

Since there are no witnesses, they decide that they will leave a letter to inform the world of their bravery even in death. While writing the letter, they remember their wives, children, and relatives and begin to cry. One suggests they put off their dying till another day because he is having guests that evening, and the other says that as a matter of fact he has promised to visit a friend the same evening so he too is willing to put it off. Both are relieved because, they admit to each other, neither really wanted to die anyway. They decide to make up, and put off dying indefinitely. They start on their way home hand in hand, singing happily.

Print 45: Roku jizō 六蔵 (The Six Statues)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 216-218.

Shite           SHYSTER

Ado COUNTRY MAN

Tachishū FRIENDS OF SHYSTER

A Country Man goes to the capital to buy six statues of the Buddhist God Jizõ for a new temple he and his fellow villagers have built, but when he arrives, he remembers that he doesn't know where a sculptor lives or what one looks like, so he decides to shout as he walks along the streets that he wants to find a sculptor and buy six statues of Jiző. A Shyster hears the Country Man, and decides to trick him out of his money. He claims that he is the only true living Sculptor of a long line of famous sculptors.

The Shyster asks what kinds of Jizõ the Country Man desires, and he explains what sacred tools they should be holding, and what positions they should be in. The Country Man asks when they will be finished. The Shyster says it will take three years, three months, and ninety days. The Country Man asks if they can't be finished a little sooner to which the Shyster replies that if he is in a hurry, they can be finished the next day. If he makes them himself, it will take three years, three months, and ninety days, but if he has his students do it, they can be finished by the next day at the same time. They decide on the price and the place for the statues to be received, and part till the next day.

The Shyster calls on his friends to help him, and has them pose as the statues, but since there are only three of them, they decide to only show the Country Man three at a time, and have the other three in a different place. Thus they will each pose as two different statues. They prepare themselves with costumes, masks, sacred tools, etc., and pose for the showing of the first three statues.

The Country Man appears at the appointed time, sees the first three statues, and is quite happy with them, but wants some minor adjustments made. He calls the Shyster to order changes and ask about the remaining three. The Shyster explains that they were too big to put all six in one place, so the rest of them are near the temple bell.

The Country Man is pleased with these also, but again wants minor changes made. He goes back and forth so many times to check on the changes and to order more, that finally the three posing as statues get so confused in their quick changes, that they get the masks on crooked, the tools upside down, the poses wrong, and finally even bump into the Country Man on the trip from one place to the other. The Country Man realizes what has happened and chases them all off.

In the Ōkura script, the Shyster says he can have the statues done either the next day at the same time or the next year at the same time. The Shyster has only two Friends to help him, so he is very busy. In the end, he gets so confused that the tries to set the Country Man up as a statue. The rest is the same as the Izumi script.

Print 47: Naruko yaruko 鳴子遣子 (The Bird Clapper Quarrel)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 192-193.

Shite           TEA SHOP OWNER

Ado MAN I

Koado MAN II

Two Men start out to visit a temple together. On the way they see some bird clappers being used in a field along the road. Man I calls them naruko, but Man II insists that they are called yaruko. They bet their swords, and go ask the Tea Shop Owner to mediate.

They both talk to him privately, and he tells them both they are actually wrong. Man I bribes him with a new tea pot (a basket of charcoal in the Ōkura script), and Man II bribes him with a load of fire wood.

The Tea Shop Owner tells a story in chanted narrative (katari) which includes both names, thus the argument cannot be settled, so the Tea Shop Owner runs off with both swords saying, "When an argument cannot be settled, the mediator gets the spoils." The two Men chase after him demanding justice.

Print 48: Hanago 花子 (Visiting Hanago)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 81-82.

Shite           WELL-TO-DO MAN

Ado WIFE

Koado TARŌ KAJA

A Wll-to-do Man wants very badly to visit his mistress, but can't get out of the house because of his jealous Wife. He tells her he has been having bad dreams, therefore he must go on a long pilgrimage to pray. She refuses to let him go, but finally gives him permission to sit zazen in the chapel for one full night.

He makes her promise not to look in on him, but as a safety measure, he calls Tarō Kaja and forces him to sit zazen in his place. The Man then goes happily on his way to his mistress Hanago's house.

The Wife, of course, breaks her promise and looks in on the zazen session. (The sitting is done, in this case, with a kimono over the head.) She discovers what has happened, and threat- ening Tarō Kaja with his life if he doesn't cooperate, takes his place to wait for the return of her husband.

The Man returns in a happy drunken daze at dawn, and thinking he is talking to Tarō Kaja asks him to stay covered with the kimono while he tells the happenings of the night as he is too shy to talk about it face to face. The Wife listens till she can take no more, and is about to explode when the Man finishes his story and orders Tarō Kaja to take off the zazen kimono. The person under the kimono refuses, so the Daimyō pulls it off himself and finds the angry face of his Wife. She chases him off in a fit of jealous rage.

Print 49: Suō-otoshi 素袍落 (The Dropped Gift)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 255-256.

Shite           TARŌ KAJA

Ado MASTER

Koado UNCLE

The Master calls Tarō Kaja, and orders him to go tell his Uncle that he is going on a pilgrimage, and is planning to leave the same day. He had promised the Uncle some time back that they would go together. The Master also orders Tarō Kaja not to tell the Uncle that he is going to accompany his Master on the trip.

The Uncle, of course, refuses to go because of the short notice. He asks Tarō Kaja if he is going, Tarō Kaja says, yes, probably since there is no one else his Master can take along, so the Uncle insists on giving him a drink for good luck.

The more Tarō Kaja drinks, the more he criticizes his Master's greed and stinginess, saying that the reason he didn't want the Uncle to know Tarō Kaja was going along was because if the Uncle knew he would treat Tarō Kaja to drinks and gifts in return for which they would be obliged to bring back souveniers for the Uncle, all his family and his servants. Tarō Kaja praises the Uncle for his generosity and kindness, drinks more and more, gets drunker and drunker, begins repeating himself and getting things all mixed up.

Finally Tarō Kaja says he must be on his way, and the Uncle gives him a ceremonial costume to wear at the shrine, and warns him to hide it from his Master because if the Master sees it, he will surely take it away from him.

Tarō Kaja hides the gift in the breast of his kimono, and staggers toward home singing and dancing merrily.

In the meantime, the Master has become impatient, goes out to look for Tarō Kaja, and finds him staggering along drunk.

Unknown to Tarō Kaja, his gift slips out and falls to the ground, and the Master picks it up quickly and hides it behind his own back. Tarō Kaja discovers his loss and begins searching for it. The Master shows him that he has it, and runs off, with Tarō Kaja close at his heels demanding it back.

In the Ōkura script, the plan is to leave on the trip the next day. At the end, the Master teases Tarō Kaja by showing him the gift after he picks it up. Tarō Kaja grabs it and runs off happily. The Master chases out after him scolding. The rest is the same as the Izumi script.

Print 50: Yoneichi 米市 (A Rice Ball Mistaken for a Girl)

Source: A Guide to Kyogen, Don Kenny, Hinoki Shoten, 1968, p. 296-297.

Shite           TARŌ (MAN IN ŌKURA)

Ado WEALTHY MAN

Tachishū VILLAGERS

A Wealthy Man is in the habit of giving Tarō a bale of rice and a kimono for his wife every year as a New Year's gift, but for some reason has forgotten to do so this year. Tarō goes to collect his gifts, receives them, and with the help of the Man, gets ready to carry them home by putting the bale of rice on his back and the kimono over it. The Wealthy Man notices that it looks as though Tarō is carrying a girl on his back, so he tells him that if anyone asks who it is to tell them it is Yoneichi (rice market) the daughter of Tōta Tawara (rice bale) and he is taking her to her home town.

On the way home he meets a group of Villagers, and sure enough, they ask him about his burden. He explains as his Wealthy Friend had told him to, and they unexpectedly respond that they want to have a drink with her.

Tarō explains that she is shy and refuses, they insist, he still refuses, and a fight ensues. During the fight one of the Villagers sneaks around behind Tarō, looks under the kimono and discovers the truth. They go off laughing at Tarō who goes on his way grumbling about the cruelty of young people and their insult to his precious gifts.

latest revision:

6-01-24