KANJIN-CHO script for NAGAUTA CHOLUS
TOGASHI
Ishikumo ono ono mowsaletali. Nao mo yamabushi nga kitalinaba, hakaligoto wo motte toliko to nashi, Kamakula dono no mikokokolo yasunji mowsubeshi. Katangata, konongi, kitto bantow tsukamatsule.ALL THREE SOLDIERS
Kashikomatte sowlow.(MUSIC CUE NO. 3 There is a shrill cry from the flute, followedby metallic beats on the TSUZUMI drum. TOGASHI turns and slowly leads his small procession across the stage, this movement symbolizing their arriving at the barrier. The soldiers kneel in a row upstage. The sword bearer kneels directly behind TOGASHI, holding the sword before him in readiness. From under the purple property cloth TOGASHI'S personal assistant [KOKEN] brings out a black lacquered cask ornamented with gold. TOGASHI seats himself on it. Another stage assistant arranges the folds of his costume.)
CHORUS
(To flute and drum accompaniment the eight singers seated at the rear of the stage tell the tale of YOSHITSUNE'S wanderings.)Ta Bi No Ko Lo Mo Wa Su Zu Ka Ke No-,
Ta Bi No Ko Lo Mo Wa Su Zu Ka Ke No-,
Tsu Yu Ke Ki So De Ya--, A, Shi Wo Lu La M---.
CHORUS LEADER
To Ki- Shi Mo Ko Lo Wa--, Ki Sa- La- Gi- No-,
Ki Sa- Ra- Gi- No, To Wo- Ka- No-- Yo--,
CHORUS
Tsu Ki- No-, Mi Ya Ko- Wo-- Ta Chi- I- De-,Te----,
(music "YOSE")
Ko Le- Ya-- Ko- No--,
Yu Ku- Mo- Ka E- Lu- Mo-, Wa Ka- Le- Te- Wa,
Shi Lu- Mo-, Shi La- Nu- Mo-,
O O- Sa- Ka- No--, Ya Ma- Ka- Ku Su--,
Ka Su-- Mi-- Zo--, Ha Lu- Wa-, Yu Ka-- Shi--, Ke--- Lu---,
FULL CHORUS
(Continuing the story of their journey.)Na Mi- Ji-, Ha Lu-- ka-Ni- Yu--Ku-- Fu Ne- No-,
Ka I- Zu- No--, U La- Ni--, Tsu Ki- Ni- Ke-, Li--,M-----.
BENKEI
salaba, katangata ontowli sowlaye.ALL FOUR RETAINERS
kokoloye mowshite sowlow.(MUSIC CUE NO. 4. BENKEI passes YOSHITSUNE and moves onto the stage to the accompaniment of SAMISEN music. The retainers follow closely behind.)
FULL CHORUS
I- Za-, To- Wo-- Ra- M- To-, Ta Bi- Go Ro- Mo-,
Se- Ki- No-, Ko Na- Ta- Ni-, Ta Chi- Ka- Ka- Lu--,
ALL FOUR RETAINERS
kokoloete sowlow.BENKEI
(Gravely)Ideide, saigo no tsutome wo nasam.
(MUSIC CUE NO. 5 So saying he moves majestically up right wheretwo stage assistants tie back the long sleeves of his kimono and hand hima scarlet Buddhist rosary. Meanwhile the retainers form a square centerstage; they kneel, their hands folded in an attitude of meditation. Witha quick glance at TOGASHI to see how he is taking all this, BENKEI movesswiftly into the square, and as the chorus sings, dances a prayer to thegods.)
FULL CHORUS
(To full orchestra accomapaniment.)So Le ya Ma Bu Shi To-- I-- PPa-,
E N No U Ba So Ku No-, Gyo Wo Gi Wo U Ke-,
So Ku Shi N So Ku Bu Tsu No-, Ho N Tai Wo-,
Ko Ko Ni Te U Chi To Me Ta Ma Wa M Ko To,
Myo Wo Wo No, Sho Wo La N--, Ha Ka Li Ga To Wo,
Yu Ya Go N- Ge N No-, Go Ba Tsu A Ta La M Ko To,
Ta Chi Do Ko Lo Ni- Mo T Te U Ta Ga I, A Lu Be Ka Lazu,
"O N A Bi La-, U N Ke N- To-,
Ju Zu Sa La- Sa La To- ,O Shi- Mo- N- Da- Li-.
BENKEI
Nanto, Kanjincho wo yometo owse sowlowna.TOGASHI
Ikanimo.BENKEI
(His confident voice betrays nothing.)kok oloete sowlow.
(He moves up stage right, where a stage assistant hands him a scroll.)
CHORUS LEADER
(MUSIC CUE NO. 6)Mo To Yo Li, Ka N Ji N- Cho Wo No-, A La Ba Ko So-,
O I No U Chi- Yo Li O Wo La I No--,
Ma Ki Mo No I Chi Ka N-, To Li I Da Shi--,
Ka N- Ji N-- Cho Wo To-, Na Zu Ke- Tsu Tsu-,
Ta Ka La Ka Ni Ko So--wo-,
Yo Mi- A- Ge- Ke- Le---.
BENKEI
(Moving back to center stage, he unrolls the scroll and, holding it so TOGASHI cannot see it, pretends to read the dedicatory passage. As BENKEI is a priest, he has a considerable knowledge of Buddhist ritual andis able to make up a plausible passage.)sole, tsulatsula omom mileba
(Music)
(Suddenly BENKEI senses TOGASHI'S presence, and he whirls to face him. The two pose for a moment, glaring angrily at each other. Then TOGASHI, his suspicious confirmed, strides bask to his position stage left and regally resumes his seat. Uncertain whether he has been found out or not, BENKEI determines to brazen it out. With a flourish he unrolls the scroll once more and in even louder tones than before continues to "read" from the KANJINCHO.)
Dai on kyowju no aki no tsuki wa, nehan no kumo ni kakule, showji chowya no nangaki yume, odolokasubeki hito mo nashi. Kokoni nakagolo Mikado owashimasu. Mina wo Showmu Kowtei tomowshi tatematsulu, sai ai no funin ni wakale, tsuibo yami ngataku, teikiu manako ni alaku, namda, tama wo tsulanuku omoi wo senlo ni hilugaeshi, jowgu Bodai no tame, Lushana Butto konlyu shitamow. Shikaluni, inji, jishow no kolo showbow shiwowannu . Kahodo no leijow taenam koto wo nageki, shunjowbow Chowgen chokumeiwo kowmutte, mujow no kanmon ni namida wo nagashi,jowge no shinzoku wo susumete, ko no leijow wosaikon sento shokoku ni kanjin su. Isshi Hansen hozai no tomogala wa, genze nite wa muhi no laku ni hokol i, towlai nite wa susen lenge no ue ni zasen. Kimyowkeishu, uyamatte mowsu.
(FADE CUE NO. 6)
CHORUS
(MUSIC CUE NO. 7)Te N- Mo--, Hi Bi- Ke- To--, Yo Mi A-- Ge- Ta-Li--.
BENKEI
(The question is far beyond BENKEI'S knowledge of Buddhism. He is furious with TOGASHI and being by nature an impetuous and proud man, heis sorely abandon to pose. BENKEI is renownedas a warrior; he knows he could easily defeat TOGASHI. Nevertheless, hecontrols himself and launches into a brilliant improvisation of Buddhistjargon.)Kuj i no daiji wa shinpi ni shite, katali ngataki koto naledo, ginen wo halasan sono tame ni, toki kikase mowsubeshi. sole kuji shingon to ippa, iwayulu, Lin, Pyow, Tow, Sha, Kai, Chin, Letsu Zai, Zen no Kuji nali. Masa ni kilam to nasu toki wa, tadashiku tatte ha wo tataku koto sanjoolikudo, mazu migi no owyubi wo motte shijuu wo egaki, nochi ni gowow wo kaku. Sono toki, kiukiu nyolitsulyow to jusulu toki wa, alayulu goinki bonnowki, matta akuma gedow shilyow ikilyow, tachidokolo ni hol obulu koto, shimo ni nyeyuwo sozogu ga gotoku, ge ni ganbon no mumyow wo kilu nodail iken, bakuya ga tsulugi mo nanzo shikan. Mada kono ue ni mo shugen no michi, utagai alaba tazune ni owjite kotae mowsan. Sono toku kowdai mulyow nali. Kimo ni eli tsuke, hito ni nakataliso, ana kashikoana kashiko. Dai Nippon no jingi sho ga tsubosatsu mo showlan ale, hyappai keisyu. Kashikomi kashikomitsutsushinde mowsu to un. Kakuno towli.
FULL CHORUS
(MUSIC CUE NO. 8 To SAMISEN music.)Ka- N- Shi Te- Zo-, Mi E- Ni- Ke- Lu-.
TOGASHI
(TOGASHI is certain they are BENKEI and YOSHITSUNE, yet BENKEI has not faltered in his defense of his master. Impressed, TOGASHI decides to let them pass.)Kak alu tow toki kyaku sow wo shibashimo utagai mowseshi wa, manako atte nakiga gotoki wa ga funen ima yoli solegashi kanjin no seshu ni tsukam. Bansotsu domo fuse motsu mote.
ALL THREE SOLDIERS
Haa,(The mood relaxes perceptibly. MUSIC CUE NO. 9. Quiet SAMISEN music underlies the following actions. TOGASHI returns to his seat stage left. BENKEI gives the scroll to his stage assistants up right and receives arosary. At the same time, THE THREE SOLDIERS pick up gift trays, which havejust been brought in through the small door stage left by TOGASHI'S stageassistant. The soldiers place the trays center stage and return to theirkneeling positions up stage of TOGASHI.)
FULL CHORUS
Shi So- Tsu- Ga-, Ha Ko- Bu-, Hi Lo Da I Ni,
Shi La A Ya Ba Ka Ma Hi To Ka Sa Ne,
Ka Ga nGi Nu A Ma Ta, To Li So Lo E,
Go Ze N Ye- Ko So- Ha Na O Shi Ke Le.
BENKEI
(He takes out his fan, flips it open, and holds it in front of him. His actions appear unconcerned, but his voice betrays his anxiety overtheir delicate situation.)Ideide, isogi mowsu beshi.
ALL FOUR RETAINERS
kokoloe mowshite sowlow.CHORUS LEADER
(MUSIC CUE NO.10)Ko Wa U Le- Shi Ya To, Ya Ma Bu Shi Mo,
Shi dZu Shi dZu Ta tTe, A Yu Ma Le Ke Li.
(BENKEI moves swiftly down the HANAMICHI followed by the four retainers. YOSHITSUNE rises and, with head bent low, slowly begins to leave the stage. Suddenly one of the soldiers crosses to TOGASHI'S side and whispers in his ear.)
TOGASHI
(Rises abruptly)Ikani, sole nalu gowliki, tomale to koso.
(With the help of his stage assistant, TOGASHI slips the kimonofrom his right shoulder, freeing his arm for action. Receiving his swordfrom the bearer, he takes two deliberate paces forward, and stops, handpoisoned on the hilt of his sword in a threatening gesture.)
(The action is very rapid, YOSHITSUNE stops, and then as if pulled by invisible strings, he backs toward TOGASHI. He kneels again in the same position he was in previously, head low and staff held against one shoulder. At the same time, BENKEI turns and rushes past the retainers toward the stage but before he can reach YOSHITSUNE, the retainers also turn and start toward the stage. They have their hands on their swords ready to draw, thinking their master is discovered. But with viciously twirling rosary and outstretched arms BENKEI succeeds in blocking their headlong rush at the very end of the HANAMICHI.)
FULL CHORUS
Su Wa Ya Wa Ga Ki Mi, A Ya Shi Mu Lu Wa,
I Chi Go No Fu Chi N, Ko Ko Na Li To,
Wo No Wo No A To E---, Ta Chi- Ka E Lu.
BENKEI
Nani, howgan dono ni nitalu gowliki me na. Ichigo no omoide naa, hala dachi ya. Hidakakuba noto no kuni made kosowzulowto omoi oluni, wazukano oi hitotsuseowte ato e sagalebakoso, hitomo ayashimule. Sowjite kono hodo yoli, yaya mo suleba howgan dono yoto ayashime lalulu wa, onole ga waza no tsutanaki yue nali. Omoeba nikkushi, mumu, nikushi nikushi, ide mono misen.(He growls through clenched teeth; he leaps in the air and stamps on the floor.)
FULL CHORUS
(MUSIC CUE NO. 11 To rapid and excited SAMISEN music.)Ko N Go WO dZu E Wo O tTo tTe-,
Sa N Za N Ni-, Cho Wo Cha Ku Su.
BENKEI
Towle.CHORUS LEADER
To Wo Le To Ko So Wa-, No No--Shi- Li- Nu,
(Shielding his face, YOSHITSUNE rises and quickly crosses up stage right and kneels with his back to the audience in effect, removing himself from the scene, which follows.)
TOGASHI
Iya, ikayow ni chinzulu to mo, towosu koto,ALL THREE SOLDIERS
Makalinalanu.(The soldiers stand in a resolute row with their hands on theirsword hilts. YOSHITSUNE'S retainers reach for their swords and are aboutto attack. Still trying to avert a conflict, BENKEI makes an excuse forthe retainer's actions.)
BENKEI
Oi ni me wo kake tamow wa, townin zowna.(He strikes the staff loudly on the floor and poses with it threateningly. The retainers surge forward. BENKEI quickly uses the staff to block their path.)
Koliya
(BENKEI forces the retainers back once but they press forward again. He pushes them back a seconds time, holding them with the staff until they are calmed. BENKEI now turns to face TOGASHI, holding the staff before him in both hands. The sight of BENKEI striking his own master has come asa physical shock to TOGASHI. Impressed with BENKEI'S daring, momentarily he cannot bring himself to act. But now he dismisses such thoughts and resolves to attack.)
CHORUS
Ka Ta Ga Ta Wa-, Na Ni Yu E Ni-,
Ka Ho Do I Ya Shi Ki, Go Wo Li Ki Ni,
Ta Chi Ka Ta Na Wo Nu Ki Ta Mo Wo Wa,
Me Ta Le Ga Wo No, Fu Lu Ma I,
O Ku Byo Wo No, I Ta Li Ka To, Mi Na Ya Ma Bu Shi Wa,
U Chi Ka Ta Na, Nu Ki Ka Ke Te,
I Sa- Mi-- Ka Ka- Le- Lu-, A Li Sa Ma Wa,
I Ka Na Lu-, Te N Ma Wo Ni Ga Mi Mo
Oso Le Tsu Byo Wo Zo, Mie Ni Ke Lu, M M M..
.
TOGASHI
Wale wa kole yoli, naomo kibishiku keigo no yaku. Katagata kitale.ALL THREE SOLDIERS
Haa, haa.(BENKEI and TOGASHI face each other once more in tableau. The air fairly crackles with emotion. BENKEI has succeeded; he knows this, yetcannot show it. For TOGASHI'S part, he knows full well who BENKEI and YOSHITSUNE are, yet he cannot show this. Further, there is the implication that, having failed his own master yoliTOMO, the honorable course for him now would be to take his own life. He averts his face so the soldiers cannot see his struggle to maintain composure. Just as he is about to give away to tears, he shakes his head, dismissing the thought of death fromhis mind. He draws himself up to his full height, pivots regally about,kicking out the long trailing ends of his trousers, and strides off thestage.)
FULL CHORUS
(MUSIC CUE NO. 12.)Shi sotsu wo hikitsule sekimoli wa, kado no uchi yezo ilinikelu.
Ka Do No U Chi E Zo, I Li Ni Ke Lu.
BENKEI
(BENKEI'S head is bent to the floor. He can scarcely speak for remorse.)sol e, yo wa masse ni oyobu to iyedo, nichi getsu imada chi ni ochitamawazu , goko un wa aligatashi aligatashi. Keilyaku to wa mowshinagala, masashiki kunshu wo chowchaku tenbow tsu, sola osoloshiku senkin wo agulu sole gashi, ude mo shibilulu gotoku oboe sowlow. Ala, mottainaya mottainaya.
(FADE MUSIC NO. 12.)
CHORUS LEADER
(MUSIC CUE NO. 13.)Tsu I Ni- Na Ka- Nu-, Be N- Ke- I- Mo-,
I Chi- Go- No- Na M Da Zo, Shu Sho Wo- Na- Lu-.
(His whole body shaking with grief; BENKEI bows his head and holds his hand before is eyes in the symbolic gesture of weeping.)
CHORUS LEADER
Ho- Wo- Ga- N-, Wo N- Te- Wo-, To Li- Ta Ma- I--.
(Rising to one knee, YOSHITSUNE extends his right hand to BENKEI in token of forgiveness. BENKEI starts forward as if to accept his master's gesture, then is overcome with the enormity of his crime. He pulls backsharply, flings down his fan, and bows his head once more to the floor inremorse.)
YOSHITSUNE
(To see the rock-like BENKEI reduced to tears on his behalf, brings home to YOSHITSUNE the full misery and the hopeless of their position.He too raises his hand to his eyes to cover his tears.)Ika naleba koso Yoshitsune wa, yumba no ieni umale kite, inochi wo ani Yoli tomo ni sasage, kabane wo saikai no nami ni shizume,
BENKEI
(Picking up his fan, he holds it before him formally and beginsto tell the story of YOSHITSUNE'S wanderings.)Sanya kaigan ni,
okifushi akasu mononofu no,
(FADE MUSIC NO. 13.)
FULL CHORUS
(MUSIC CUE NO. 14. As the chorus takes up the story, BENKEI dances its meaning to the accompaniment of a plaintive melody played by the full orchestra. The pace is slow, the mood softly melancholy.)FULL CHORUS
Yo Lo I Ni So I ShI , So De- Ma Ku La,
Ka Ta Shi Ku Hi Ma Mo, Na Mi No U E,
A Lu To Ki Wa Fu Ne Ni U Ka Bi,
Fu U Ha Ni- Mi Wo- Ma Ka- Se-,
Ma Ta A Lu- To Ki Wa Sa N Se Ki- No,
Ba Te I Mo Mi E Nu Yu Ki No Na Ka- Ni-,
U Mi Su Ko- Shi A Li Yu U Na Mi No,
Ta Chi Ku Lu- O To Ya, Su- Ma A Ka Shi,
CHORUS LEADER
To Ka- Ku-, Mi To- Se- No-, Ho Do- Mo, Na Ku Na- Ku-,
I Ta Wa Shi Ya To, Shi Wo Le Ka Ka Li Shi, O Ni- A- Za- Mi-,
Shi- Mo- Ni-, Tsu Yu- O- Ku,
Ba-- Ka-- Li- Na- A- A-, Li--.
(To emphasize the strength of the thought, BENKEI draws the string of an imaginary bow. Then he gestures the throwing of a stone, indicating that YOSHITSUNE'S fortunes are being dashed to earth in the same way. For a moment he holds a powerful pose, right hand extended, left hand over his head. Then he slowly crosses his eyes, executing a "MIE," the most expressive type of pose in Kabuki. Two sharp claps of the stage manager's HYOSHIGIsticks emphasize the emotional tension of the moment.)
(BENKEI indicates YOSHITSUNE with his closed fan. Then he and the four retainers bow low. Straightening up, they cover their eyes to hidetheir tears)
ALL FOUR RETAINERS
Tokutoku taisan.FULL CHORUS
Ta Ga I Ni So De Wo, Hi Ki Tsu Le Te-,
I Za Sa Se Ta Ma Ye No, O Li Ka Ra Ni.
BENKEI
Ala aligatano daidanna, gochisow chowdai tsukamatsulu.CHORUS LEADER
(MUSIC CUE NO. 15 Accompanied by a single SAMISEN)Ge Ni- Ge- Ni-- Ko Le- Mo--,
Ko Ko- Lo- E- Ta- Li-,
Hi To- No- Na Sa Ke No- Sa Ka- Zu- Ki- Wo,
U Ke- Te Ko Ko- Lo Wo To Do Mu- To- Ka Ya-.
I Ma- Wa- Mu Ka- Shi- No-, Ka Ta- Li Gu- Sa,
A La- Ha Zu Ka Shi No Wa Ga Ko Ko Lo,
I Chi- Do Ma Mi E Shi-, O-n Na Sa- Ye,
Ma Yo I No- Mi Chi No- Se Ki Ko E Te,
I Ma Ta Ko Ko Ni-, Ko E Ka Nu- Lu-,
Hi To- Me- No- Se Ki No-, Ya Lu- Se Na- Ya, a---,
Sa To- La- Le-- Nu- Ko- So, U Ki- Yo- Na- Le.
FULL CHORUS
O Mo S Hi Lo Ya Ya Ma Mi Zu Ni,
O Mo S Hi Lo Ya Ya Ma Mi Zu Ni,
Sa Ka- Zu Ki Wo-, U Ka Be Te Wa,
Li U Ni Hi Ka Lu Lu, Kyo Ku Su I No,
Te Ma Zu Sa E Gi Lu, So De Fu- Le- Te-,
I Za Ya- Ma I Wo, Ma O Wo Yo- .
BENKEI
(MUSIC CUE NO. 16. BENKEI turns to the audience and kneels. When he speaks, it is with great emotion. The implied meaning is that he, BENKEI, recognizes what TOGASHI has done for them, and that he wishes to express his gratitude. At the same time, it is implied that TOGASHI recognizes the true meaning of BENKEI'S words.)Ban zei mashimase, banzei mashimase, iwao no ue, kame wa sumunali, aliyudontow.
(As further expression of his gratitude, BENKEI now rises and performs a dance taken from the Noh drama. In the first section of the dance, he circles the stage twice with closed fan and three times with fan open, as the drums and flute play a lively rhythmic passage. This is a standard Noh dance pattern with no particular meaning. In the second section, the tempo becomes much slower, and a SAMISEN joins the drums and flute. BENKEI crosses the stage in a triangular figure. His foot movement remain the simple sliding steps they were in the first section, but his arm movements and gestures with the open fan become increasingly complicated. In the third and final section of the dance, the tempo quickens again and BENKEI'S dancing takes on an infectious, rhythmic quality. In a gold and red arc open fan flashes through the air. BENKEI leaps high and stamps loudly on the floor. With outstretched arms he twirls the long red rosary. The dance is concluded as he kneels and ceremoniously closes the fan.)
FULL CHORUS
Mo To Yo Li Be N Ke I- Wa-,
Sa N To Wo No I U So Wo,
Ma I E N- Ne N No-, To Ki No Wa Ka.
(BENKEI now performs a short ENNEN dance, a dance of longevity,traditionally performed by priests. Inasmuch as BENKEI was famous in hisyouth for his skill in this dance, and inasmuch as TOGASHI would be expectedto know this, to dance it now is a daring and subtle way for BENKEI to expresshis gratitude. The complex web of recognition is now complete: both BENKEIand TOGASHI know that the other knows, yet neither can acknowledge the factdirectly. At the conclusion of the dance BENKEI kneels again. Once moreplaying the role, he comments politely on the beauty of the scene where theyhave stopped.)
BENKEI
Kolenalu yamamizu no,ochite iwao ni hibiku koso,
CHORUS
(A piercing note is heard from the flute.)Ko Le- Na- Lu- Ya- Ma Mi- Zu- No,
O- Chi- Te-, I Wa- O- Ni-, Hi Bi- Ku- Ko- So-,
Na Lu- Wa- Ta- Ki- No- Mi- Zu,
Na- Lu- Wa- Ta- Ki- No- Mi- Zu-.
(Music)
FULL CHORUS
(With full orchestra accompaniment.)Na Lu- Wa- m-----, Ta- Ki- No- Mi- Zu--.
Hi Wa Te Lu- To- Mo, Ta E Zu To Wo Ta Li.
To Ku To Ku- Ta Te Ya,
Ta Tsu Ta Yu Mi No-,
Ko Ko Lo Yu Lu Su Na Se Ki Mo Li No Hi To Bi To,
I To Ma Mo Wo Shi Te Sa La Ba Yo To Te,
O I Wo O tTo Li, Ka Ta Ni U- Chi Ka- Ke-,
(Music)
To La No O Wo fu Mi, Do Ku Ja No- Ku Chi Wo,
No Ga Le Ta Lu- Ko Ko Chi Shi Te-,
Mu Tsu No- Ku Ni E- Zo- Ku Da- Li- Ke- E- E- Lu--.
(Music)