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Kanjincho
As we enter the theater the traditional Kabuki curtain of broad green, rust, and black stripe is closed; the house lights are partially dimmed. In a few moments two sharp claps are heard from backstage, wood againstwood, as the stage manager signals the start of the performance with hisHYOSHIGI sticks. From off-stage right comes the cry "Hoo-yoo!" and thethree musicians in the off-stage music cage (GEZA) take up the openingmusic of Kanjincho: first, the quavering, high pitched notes of a flute,the measured beating of drums. (MUSIC CUE NO. 1) The sounds driftclearly through the light silk curtain. The audience settles down. Thentwo more claps of the stage manager's sticks signal that the cast is inplace. The drumming rapidly increases in tempo and a stage assistant (KYOGEN KATA) , kneeling beside the left proscenium arch, begins to beatout a furious tattoo with two wood clappers on a board in front of him.Just as the crescendo of sound reaches its peak another stage assistant,robed and hooded in black, runs swiftly across the stage pushing the curtainbefore him. (FADE MUSIC NO. 1) Before us is revealed the sweeping expanse of the ninety-foot wideKabuki stage, its full area suffused with light and reflecting warmly onthe polished surface of the cypress dance floor. The setting is simpleand stylized, representing as it does, the Noh stage. On a back piece andtwo sidepieces, is painted a background of light tan wooden planking, anda single gnarled pine tree flanked by bamboos. The series of slits in thescenery stage right show the location of the off-stage musician's cage.Except for a small area upstage left, where a small group of hand propertiesis placed, partially covered by a purple silk cloth, the entire area ofthe stage is available for the action of the play. There are three entrances.A colorfully striped curtain (KIRIMAKU) covers the large entrancestage right. On the opposite side of the stage is a small door (KIRIDO-GUCHI) , used by the stage assistants who are stationed on the left of the stageand by actors for less important exits. The main entrance, however, is theplatform which leads from the rear of the auditorium, through the audience,to the right side of the stage, and which serves as an extension of the stageproper into the audience. A "long-song" or NAGAUTA, orchestra of twenty-two men can be seen formally seated at the rear of the stage, singers and SAMISEN (a three stringed instrument) players in the top row, and the musicians who play the small hand-drums (TSIZUMI and KOTSUZUMI) , the larger stand drums (TAIKO) , and the flute (YOKOBUE) in the bottom row. They wear identical black kimonos and wide-shouldered garments of deep blue marked with thecrest of the Ichikawa family, the famous Kabuki acting family that originallyproduced the Kanjincho. There is a moment of silence as the off-stage music stops. (MUSIC CUE NO. 2) Then slowly the "long-song" flutist lifts his instrumentto his lips, a drummer deliberately raises his sticks and they begin toplay. The curtain stage right flies open and TOGASHI, three soldiers, anda sword bearer enter in stately procession. They move slowly, deliberately,using the sliding step of Noh Dance. The foot never leaves the floor. Thisstyle of movement is used by all the characters in Kanjincho. Each controlled movement blends into the next, so that the character appears to glide, rather than walk. When TOGASHI reaches center stage he stops, pivots slowly, and faces the audience. It is obvious tat he is a SAMURAI, for he wears the sumptuous ceremonial dress of nobility. His outer kimono is a voluminous affair of pale blue brocade figured with white and silver cranes. Its sleeves almost touch the floor. His legs are encased in the long trousers of court dress (NAGABAKAMA) , which trail away a full four feet behind him. He carries a fan in his right hand. His face and hands are pure white except for black lip and eye markings. Togashi addresses the audience directly, in a stately, half-chanting style of speech. (FADE MUSIC NO. 2) TOGASHI Kayow ni sowlow mono wa, Kaga no kuni no joonin, Togashi no Saemon nite sowlow. Sate mo Yolitomo Yoshitsune onnakafuwa to nalase tamow ni yoli, Howgan dono no shoojoo, tsukuli yamabushi to natte, Michinoku e gekow alu yoshi, Kamakula dono kikoshimeshi oyobale, kaku kuniguni e shinseki wo tate,yamabushi wo kataku sengi seyotono genmei ni yotte, sole ga shiko no seki wo aimamolu. Katangata,sayow kokol oete yokalow. . (No flicker of expression has crossed TOGASHI'S face, composurebeing one of the highest virtues of the SAMURAI code.) FIRST SOLDIER (Replying strongly, but also without any visible expression.) Ooseno gotoku, kono hodo yoli ayashingenalu yamabushi wo tolaye, kyoboku ni kakenalabe okimashite gozalu. SECOND SOLDIER Zuibun, mononi kokoloye, walewale oato ni hikaye, moshi yamabushi to milunalaba, gozen e hikitsuye mowsubeshi. THIRD SOLDIER Syugensha talu mono kitalinaba, sokuza ni nawakake, uchitoluyow. FIRST SOLDIER Izulemo keigo, ALL THREE SOLDIERS Itashitegozalu. 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.) Tabi no kolomo wa suzukake no, Tabi no kolomo wa suzukake no, Tsuyukeki sode ya, a, shiwolulam. CHORUS LEADER Tokishimo kolo wa kisalangi no, kisa rangi no towka no yo, CHORUS Tsuki no miyako wo tachi idete, (music "YOSE") Kole ya kono, yukumo kaelu mo wakaletewa, shilu mo shilanu mo, Oosaka no yama kakusu, Kasumi zo halu wa yukashikelu, (The curtain at the rear of the HANAMICHI flies up and YOSHITSUNE enters. Using quick sliding steps he moves down the HANAMICHI toward the stage, then sees TOGASHI and the soldiers at the barrier. He stops andturns back toward the audience. For a moment he poses, a subdued tragicfigure. He wears a dark purple kimono and pale green trousers. His longhair is gathered together and falls down his back. His face, hands, anddancing socks [TABI] are pure white. As part of his disguise he carriesa large coolies hat and a pilgrim's staff. The blue or OI box strappedto his back supposedly contains BENKEI'S sutras and other religious objects;actually it contains YOSHITSUNE'S armor. Next, YOSHITSUNE'S four retainersstride purposefully down the HANAMICHI one by one. They pass their masterand form a line between him and the stage. They wear priest's vestmentsand carry Buddhist rosaries. Each has a short sword at his waist.) FULL CHORUS (Continuing the story of their journey.) Namiji halukani yuku fune no, Kaizu no ula ni tsukinikeli. (At this point BENKEI moves quickly down the HANAMICHI. He wears a priest's pill-box hat and vestments. He is an imposing figure dresses entirely in black brocade silk figured with gold. As YOSHITSUNE turns to him, the retainers kneel. FADE MUSIC NO. 3) YOSHITSUNE Ikani Benkei, michimichi mo mowsu gotoku, kaku yuku sakizaki ni sekisho atte wa, shosen, Michinoku e wa omoi mo yolazu. Namonaki mono no te ni kakalam yoliwa to, kakungo wa toku yoli kiwametaledo, wonowono no kokolo mo dashi gataku, Benkei nga kotoba ni shitangai, kaku gowliki to wa sugata wo kaetali. Menmen hakalow mune aliya. FIRST RETAINER Sanzowlow, taiseshi tachi wa nan no tame, itsu no yonikawa chi wo nulam , kimi ondaiji wa ima kono toki. SECOND RETAINER Isshin no hozo wo katame, sekisho no bansotsu kilitaoshi, seki wo yabutte towlu beshi, THIRD RETAINER Tanen no buon na, konnichi tadaima, Ideya sekisho wo, FIRST, SECOND AND THIRD RETAINERS (They rise, hands on the hilts of their swords.) Fumiyabulam. (They turn to go, but the FOURTH RETAINER, an older man, blockstheir path with an imperative gesture and BENKEI speaks.) BENKEI Yaale shibalaku,onmachi sowlaye. (Reluctantly the three retainersreturn to their kneeling positions.) Kole wa yuyushiki ondaiji nite sowlow. Kono seki hitotsu, fumi yabutte koetal i to mo, ato wa yuku sakizaki no shinseki ni, kakal u sata no alutoki wa, motomete koto wo yabulu no dowli, tayasuku wa Michinoku e wa maili gatashi, sole yue ni koso, kesa , tokin wo nokelale, oi wo onse ni mailasete kimi wo gowliki to shitate sowlow. Toni mo kaku ni mo sole wa shi nionmakase atte, on ita wa shiku wa sow laye domo,onkasa wo fukabuka to mesale, ikanimo kutabiletalu tei ni mo te nashi, walewale yoli ato ni hikisagatte, ontowli sowlow, nakanaka hito wa omoi mo yoli mousumaji. Haluka ato yoli oide alow zulu nite sowlow. YOSHITSUNE Toni mo kaku nimo, Benkei yokini hakalai sowlaye. (To the chaffing retainers.) Katangata ihai subekalazu. ALL FOUR RETAINERS (Bowing slightly.) Kashikomatte sowlow. 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 CHORAS Iza towlam to tabigolomo , seki no konata ni tachikakalu. (There are irregular metallic taps from the TSUZUMI drum. Stillon the HANAMICHI, YOSHITSUNE ties his hat low over his eyes, then movesslowly onto the stage, and the retainers who are kneeling in a row upstageright. His personal stage assistant places a small stool for him to siton, and arranges his costume. YOSHITSUNE poses with his head low, claspingthe pilgrim's staff over his shoulder. Though he remains motionless inthis position throughout most of the play, his noble bearing is such thatwe are always aware of his presence. FADE MUSIC NO. 4) BENKEI (Faces front and speak in a dignified manner befitting a priest.) Ikani, kolenalu yamabushi no, onseki wo makali towli sowlow. FIRST SOLDIER Nani, yamabushi no kono seki ni, SECOND AND THIRD SOLDIER Kakalishitoya. TOGASHI Nanto, yamabushi no ontowli alu toka. kokoloete alu. (Music) Kyakusowtachi kole wa seki nite sowlow. BENKEI (Facing TOGASHI, but feigning deference.) Uketamawali sowlow. Kole wa nantow Towdaiji konlyuu no tame, kuninguni e kyakusow wo tsukawa salu. Hokulokudow wa kono kyakusow, uketamawatte makali towoli sowlow. TOGASHI Chika golo shushow ni wa sowlayedomo, kono shinseki nga yamabushi talu mono ni kangili, kataku tsuulo nali ngatashi. BENKEI kokoloyenu koto domo ka na. Shite, sono shui wa. TOGASHI Sansowlow. Yolitomo Yoshitsune Onnaka fuwa to nalase tamaw ni yoli, Howgan dono shoojoo oku Hidehila wo tanomi tamahi, tsukuli yamabushi to natte gekow alu yoshi, kikoshimeshioyobale, kaku kuninguni e shinseki wo tate, solengashi kono seki wo uketamawalu. FIRST SOLDIER Yamabushi wo shingiseyotono koto nite, walewale bantow tsukamatsulu. SECOND SOLDIER Kotoni mileba, owzei no yamabushitachi. THIRD SOLDIER Hitoli no towsu koto. ALL THREE SOLDIERS Makalinalanu. BENKEI Isai uketamawali sowlow. sole wa, tsukuli yamabushi wo koso tolayeyotono owsenalubeshi. Makoto no yamabushi wo koso tolayeyotono , owsenite sowlowmaji. FIRST SOLDIER (Not sharing TOGASHI'S lofty politeness, he speaks roughly and to the point) Iya, kinow mo yamabushi wo san nin made kittalu uye wa, SECOND SOLDIER Tatoe makoto no yamabushi tote, yowsha wa nalanu. THIRD SOLDIER Tatte towlaba, ichi mei ni mo, ALL THREE SOLDIERS (In unison.) Oyobubeshi. BENKEI (Reacting with mock horror.) Sate, sono kittalu yamabushi kubi wa, Hwgan dono ka. TOGASHI A, la muzukashino, mondow muyaku, icchi nin mo towsu koto. ALL THREE SOLDIERS (With great force) Makalinalanu. (TOGASHI imperiously turns his back on BENKEI, kicking the longtrailing ends of his trousers as he does so. He strides back to his formerposition stage left and resumes his seat.) BENKEI Gongodoudan, kakalu fushow no alubekiya. Kono uwe wa chikala oyobazu. salaba saigo no tsutome wo nashi, jinjow ni chuselalyozulu nite sowlow. Katangata chikow watali tamaye. 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.) Sole yamabushi to ippa, En no Ubasoku no gyowgi wo uke, Sokushin soku Butsu no hontai wo kokonite uchitome tamawam koto, myowow no showlan hakali gatau, Yuya Gongen no gobatsu atalam koto, tachidokolo ni motte utagai alubekalazu, (In simulated anger BENKEI leaps high in the air and stamps loudly upon the floor.) "On A Bi La Un Ken to, Juzu salasala to oshi mondali. (BENKEI rises to his full height and with a sweeping upward motion begins to rub the beads of his rosaries. The others follow suit. The beads of the rosaries buzz and chatter. Then the retainers turn their backsto BENKEI, clap their hands in unison, and kneel, hands still folded inprayer. The tableau thus formed is similar to a statue grouping seen inmany temples, that of Buddha, protected on the four sides by his kneelingguardian angels, thus implying their closeness to Buddha. FADE MUSIC NO.5) TOGASHI (Suspicious, he determines to test BENKEI'S story.) Chikagolo shushow no onkakungo. Saki ni uketamawali sowlayeba, Nanto Todaiji no kanjinto owse alishiga, Kanjincho goshoji naki kotowa yomoya alaji. Kanjincho asobasale sowolaye. Kole nite chowmon tsukamatsulam. BENKEI Nanto, Kanjincho wo yometo owse sowlowna. TOGASHI Ikanimo. BENKEI (His confident voice betrays nothing.) kokoloete sowlow. (He moves up stage right, where a stage assistant hands him a scroll.) CHORUS LEADER (MUSIC CUE NO. 6) Moto yoli Kanjincho no alaba koso Oi no uchi yoli owlai no makimono ichi kan toli idashi Kanjincho to nazuketsutsu Takalakani koso yomiangekele. 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) Ten mo hibike to yomiagetali. (BENKEI rolls up the scroll with utter composure and is about to turn away. FADE MUSIC NO. 7) TOGASHI (There is little doubt in Togashi's mind that this is YOSHITSUNE'S party, yet he is impressed by BENKEI'S bold improvisation. Rising, he decides to test BENKEI further.) Kanjincho chowmon no uwe wa, utagai na alubekalazu. Salinagara, koto no tsuide ni toimowsan, yo ni Butto no sugata samazama ali, nakani yamabushi wa, ikameshiki sugata nite, butsumon shugyou na ibukashishi, kolenimo ihale alu ya ikani. BENKEI (Without hesitation he fabricates a plausible answer.) O, sono lai yu, ito yasushi. sole Shugen no how to ippa, taizow kongo nolyowbu wo mune toshi, kenzan akusho wo fumi hilaki , yo ni gai wo nasu akujoo dokuja wo taiji shite, genze aimin no jimin no tale, alui wa nangyow kugyow no kow wo tsumi, akulyow bowkon wo jowbutsu toku datsu sase, jitsungestu seimei, ten nga taihei no kitow wo jusu. Kakaluyue ni, uchi ni wa zehi no toku wo osame, omoteni kowma no sow wo alawashi, akkigedow wo ifuku (ibu?) seli. Kole shinbutsu no lyowbu ni shite, hyakuhachi no juzu ni Buttow no lyaku wo alawasu. TOGASHI (Pressing another question without pause.) Kesa kolomo wo mi ni matoi, Butto no sugata ni alinangala, hitaini itadaku tokin na ikani. BENKEI Sunawachi, tokin suzukake wa bushi no katchoo ni hitoshiku, koshi ni wa mida no liken wo taishi, te ni wa shaka no Kongow zue ni te, daichi wotsuite fumihilaki, kowzan zessho wo joo ow seli. TOGASHI Jisow wa shakujow wo tazusa ulu ni, yamabushi shugen no Kongowzue ni, gotai wo katamulu iwale wa nanto. BENKEI Koto mo olokaya, Kongow zue wa tenjiku dandokusen no shinjin, alala sennin no mochitamaishi leijow ni shite, taizow Kongow no kudoku na komeli. Shakusoi mada kudon syami to mowseshikolo, alalasen ni kyowji shite kugyow shitamai, yaya kow tsutsumolu. Sennin sono shinliki gowsei wo kanji, kudon syami wo alatamete, showfu biku to nazuketali. TOGASHI Shite mata, shugen ni tsutawalishi wa. BENKEI Alalasen yoli showfubiku ni tsutawalu Kongow zue, kakalu leijow naleba, waga shooso en no showkaku, kole wo motte san ya wo basshow shi, sole yoli yoyo ni kole wo tsutow . TOGASHI Butsumon ni alinangala , taiseshi tachi wa tada, mono wo odo sam lyow naluya. Makoto gaisemlyow naluya. BENKEI Kolezo kakashi no yumiya ni nitaledo, odoshini haku no lyow nalazu, Buppow owhow ni gai wo nasu, akujuu dokuja wa iu ni oyobazu, tatowaba, ningen naleba tote, yo wo samatage, Buppow owhow ni teki sulu aku to wa, issatsu tajow no li ni yotte, tadachi ni kitte sutsulu nali. TOGASHI Me ni sayegili, katachi alu mono wa kili tamow beki nga, moshi, mugyow no inki yowma, Buppow owhow ni showge wo nasaba nani wo motte kilitamow ya . BENKEI Mugyow no inki yowma bowlei wa, kuji shingon wo motte, kole wo settan sem ni, nan no kataki koto ya ala m. TOGASHI (Moving in toward BENKEI, he presses another series of questions without pause.) Shite, yamabushi no idetachiwa, BENKEI Sunawachi, sono mi wo fudow myowow no son yow ni katadolu nali. TOGASHI Kashila ni itadaku tokin na ikani. BENKEI Kolezo gochi no howkan ni shite, juuni innen no hida wo totte kole wo itadaku. TOGASHI (Moves in another step.) Kaketalu kesa wa. BENKEI (He moves in toward TOGASHI.) Kuwe mandala no kaki no suzukake TOGASHI Ashi ni matoishi wabaki na ikani. BENKEI Taizow kokujiki no wabaki to showsu. TOGASHI Shite mata, yatsu no walanzu wa. BENKEI Hachiyow no lenge wo fumu no koklo nali. TOGASHI (Almost spitting it out) Ideilu iki wa. BENKEI (They are face to face, just a few feet apart. BENKEI controls himself, but he is trembling with anger. For a moment they glare at each other in tableau.) Aun no niji. TOGASHI (Still pressing.) Somosomo, kuji no shingon to wa, ikanalu gi nya, koto no tsuide ni toi mowsam . (For a moment BENKEI cannot reply. TOGASHI senses the lapse he has been waiting for. He draws back a pace, and raises his fan in a commanding gesture. He speaks imperiously.) Sa, sa, nantow, nantow 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.) Kuji 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 iki l yow, 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.) Kanshin shite zo mienikelu (BENKEI dances a few steps expressive of his success, then he and TOGASHI pose in tableau: BENKEI with the scroll held high as in triumph, and TOGASHI with his fan held over his head. This is a high point of the play. From the audience come loud cries of "Well done!" , "We've waitedfor this!" , "Like your father before you!" FADE MUSIC NO. 8) 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.) Kakalu 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 Shisotsu ga hakobu hilodaini, shila ayabakama hito kasane, kagaginu amata toli soloe, gozen e koso ni naoshikele. TOGASHI Chikagolo sashow ni wa sowlaye domo, Towdaiji no kanjin sunawachi fusemotsu, gojunow kudasaleba, solegashi ga kudoku, hito e ni negai tatematsulu. BENKEI (Standing before the gifts, ready to receive them, he speaks impressively.) Ala aligata no daidan na, gentow nisei anlaku zo, nan no utagai alu b kalazu. Kasanete mowsu koto no sowlow. Nao walewale wa, Kingoku wo kanjin shi, uzuki nakaba ni nobolubeshi, sole made wa kasadaka no shinajina oazuke mowsu. salaba katagata, on towli sowlaye. (He kneels before the gifts. When he rises he takes only the two bags of money from the center tray. These he gives to two of the retainers.) ALL FOUR RETAINERS kokoloete sowlow. 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) Kowa uleshiya to yamabushi mo, shidzu shidzu tatte ayumalekeli. (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 Suwaya waga kimi ayashimulu wa, ichigo no fuchin koko nali to, ono ono ato e tachi kaelu. BENKEI (In feigned rage, shakes his head violently and stamps loudly on the floor. He twirls the rosary about his head in a sweeping arc, and crosses in swiftly to YOSHITSUNE, attempting to shield him from TOGASHI'S searching gaze. FADE MUSIC no. 10) Kokona gowliki me na, nani tote towli olanuzo. TOGASHI (In a fearsome voice) sole wa, kono hou yoli todome mowshitali. BENKEI sole wa nani yueno otodome nite sowlowzo. TOGASHI Ano gowliki ga, chito hito ni nitali to mowsu mono no sowlow hodo ni, sate koso tadaima todometali. BENKEI Nani, hito ga hito ni bitali to wa, mezulashikalanu owseni koso. Sate, dale ni nite sowlowzo. TOGASHI Howgan dono ni nitali to mowsu mono no sowlow hodo ni, lakkyo no aida todome mowsu. 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.) Kongow dzue wo ottotte, (Restraining the tears, BENKEI raises the staff high, then strikes his master on the right shoulder. His whole body jerks as if he himself had been struck. Once again he raises the staff, hesitates, his face contorted with grief, the strikes his master on the left shoulder.) sanzan ni chowchakusu. BENKEI Towle. CHORUS LEADER Towole to koso wa, nono shilinu. (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 Katagata wa nani yue ni, kahodo iyashiki gowliki ni, tachi katana wo nukitama wa, metale gao no fulumai, Okubyow no italikato, mina yamabushi wa uchikatana nuki kakete, isami kakalelu alisama wa, ikanal u tenma onikamimo Oso letsubyow zo mienike lu, mmm.. (Slowly the two opposing groups move toward each other until they meet center stage. On each side the men press against their leader. BENKEI and TOGASHI glare fiercely at each other. Then TOGASHI and the soldiersbegin to advance. Slowly, deliberately, using the sliding dance step ofNoh, they take one, two, three slow motion strides forward. In unison, BENKEIand the retainers take one, two, three strides backward. The two massesof men pivot and surge as one, bound together by their fierce antagonism.Now BENKEI summons his last resources and halts TOGASHI. Holding the staffbefore him, he begins to push TOGASHI back. The soldiers and the retainersstand aside as BENKEI forces TOGASHI back step by step to his original position.The implication is that TOGASHI can no longer bring himself to attack inthe face of BENKEI'S great display of courage on behalf of YOSHITSUNE. BENKEI has succeeded in preventing first his own men and now TOGASHI from launching an attack. The victory is his. Defiantly he faces TOGASHI. Twirling the rosary, he swings the staff about his head, and strikes it in the floor. He raises the staff over his head and poses. TOGASHI poses with his legs spread wide apart and his hand on the hilt of the sword. They hold their tableau for a moment. FADE MUSIC NO. 11) BENKEI Mada kono uwe ni mo on utagai no sowlawaba, ano gowlikime, nimotsu no fusemotsu molotomo ni, oazuke mowsu. Ikayow tomo Kyumei ale. Tadashi kolenite uchi koloshi mise mowsan ya. TOGASHI Ko wa sendachi no alake nashi. BENKEI Sikalaba, tadaima utagai alishi wa ikani. TOGASHI Shisotsu no mono ga wale e no uttaye. BENKEI (With grim determination.) Goginen balashi, uchi koloshi mise mowsan. TOGASHI (TOGASHI visibly recoils at the thought. He is caught up in conflicting emotions. He is aghast to think that BENKEI would actually raise his hand against his own master, an unheard of act in feudal Japan. At the same time he recognizes this as an act of supreme devotion on BENKEI'S part and is overwhelmed with admiration. In BENKEI, he recognizes his moral superior. He makes his decision.) Iya, hayamali tamowna . Bansotsu domo ga yoshinaki higame yoli , Howgan dono nimo naki hito wo, utagaeba koso, kaku sekkan mo shi ta mownali. Ima wa utagai hale sowlow. Toku toku izanai towlaleyo. BENKEI Dai danna no owsenakunba, uchi koloide sutenzu mono, inochi myowga ni kanaishi yatsu, igo wa kitto, tsutsushimi olow. 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.) Shisotsu wo hikitsule sekimoli wa, kado no uchi yezo ilinikelu. (TOGASHI and the soldiers exit through the small door stage left. BENKEI looks after them. The music now becomes plaintive and halting intempo. YOSHITSUNE'S hat and OI, box have been taken by his stage assistantand now he moves to center stage right where he kneels. BENKEI slowly moves to center stage right. He kneels facing YOSHITSUNE, his head bent in grief. The retainers kneel in a line up stage between the two. They have symbolically passed through the barrier and are now stopping some distance beyond it.) YOSHITSUNE (He speaks quietly. In spite of their success he seems subdued and melancholy.) Ikani Benkei, konnichi no kiten, salani bonlyo no oyobu tokolo nialazu. Tokaku no zehi wo alasowazushite, tada genin no gotokusanzan ni wale wo utte tasukeshi wa, masani ten no kago yumiya show hachi man no shinlyo to omoeba, katajikenaku omowzoyo. FOURTH RETAINER Yoshi michino kubow wo hajimetoshite, shitagau monodomo sekimoli ni, yobitomelaleshi sono toki wa, kokozo kimi no ondaiji to omoishi ni, THIRD RETAINER Makoto ni Genji no yumiya gami, showhachi man no waga kimi wo, mamolase tamow onshilushi, michinoku gekow wa sumiyakanalubeshi. SECOND RETAINER Kole mattaku Musashibow ga chibow ni alazunba, nogalegatashi. FIRST RETAINER Nakanaka nite, walewale no oyobu beki tokolo ni alazu. ALL FOUR RETAINERS Huhun, odoloki itte sowlow . BENKEI (BENKEI'S head is bent to the floor. He can scarcely speak for remorse.) sole, 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.) Tsuini nakanu Benkei mo, ichigo no namuda zo shooshow nalu. (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 Howgan on te wo tolitamahi. (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.) Ikanaleba 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.) San ya 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 Yoloi ni soishi sode makula, katashiku hima mo nami no ue, alu toki wa fune ni ukabi, fooha ni mi wo makase, mata alu toki wa sanseki no, batei mo mienu yuki no naka ni, umi sukoshi ali yuunami no, tachi kulu oto ya Suma Akashi, CHORUS LEADER tokaku mitose no hodo mo naku naku ita wa shiya to, shiwolekakalishi oniazami, shimo ni tsuyu oku bakali nali. (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 Tagaini sode wo hikitsulete, izasase tamayeno olikalani. (But BENKEI does not move. The fan falls from his nerveless fingers, his head sinks to his chest. FADE MUSIC NO. 14.) TOGASHI (Off stage.) Naunau kyakusow tachi, shibashi shibashi (As BENKEI rises instantly, prepared to meet whatever new challenge may come, YOSHITSUNE retires up stage right where he is covered from view by the four retainers, TOGASHI and the soldiers enter through the mainentrance stage right and cross immediately to their original positionsstage left.) .Sate mo sole ga shi, kyaku sowtachi e sotsuji wo mowshi, amali ni menmoku naku oboe sowlow hodo ni, soshu hitotsu shinzen to isan seli. Ideide sakazuki mailasen. (A small cup is placed on a tray before TOGASHI by one of the soldiers, and filled. As is the custom, TOGASHI, the host, drinks first. Then the cup on the tray is ceremoniously placed before BENEKI, who accepts it center stage, kneeling facing the audience. The cup is filled and BENKEI looks at it with disguised pleasure.) BENKEI Ala aligatano daidanna, gochisow chowdai tsukamatsulu. CHORUS LEADER (MUSIC CUE NO. 15 Accompanied by a single SAMISEN) . Ge ni ge ni kolemo kokoloetali, hito no nasakeno sakazuki wo, ukete kokolo wo todomu tokaya. (BENKEI tosses off the drink in one swallow. In an expansive mood, now that the crisis is past, he laughingly gestures for the lid of the big lacquered cask stage left to be brought to him and filled with wine. Two soldiers to do so, then watch in open-mouthed amazement as BENKEI buries his face in the lid and downs an enormous draught. BENKEI comes up for air, smacks his lips, and then with a sly chuckle points straight to the audience. The soldiers lean forward, straining to the audience. The soldiers lean forward, straining to see what is out there, and as they do so, BENKEI pushes them off balance and they tumble to the floor. BENKEI roars with good-natured laughter.) Ima wa mukashi no kataligusa, (As a kind of counterpoint to BENKEI'S actions, the chorus leader tells of an early love affair BENKEI once had a priest, obliquely comparing the difficulties he faced then to the crossing of the barrier now.) ala hazukashi no waga kokolo, ichido mamieshi onna saye, mayohi no michi no seki koete, imata koko ni koekanulu, hitome no seki no yalusenaya, a, satolalenu koso ukiyo nale. (BENKEI empties the lid, then gestures for it to be filled oncemore. The soldiers hesitate, afraid of the consequences, but a menacingglare and a roar of mock anger quickly convince them, which is the lesserof the two evils. They fill the lid at once. His eyes gleaming with delight,BENKEI raises the lid to his lips and drains the entire contents in a single,breathtaking swallow. The soldiers stand amazed. Now slightly tipsy, BENKEIputs the lid on his head like a hat, and then, as a stage assistant removesthe lid, he rises unsteadily to his feet to dance, beating time with theclosed fan. Now the fan is flicked open and it becomes a SAKE cup; it sailsin a graceful arc across the stage and it is the SAKE cup floating downa mountain stream.) FULL CHORUS Omoshiloya yamamizu ni, omoshiloya yamamizu ni, sakazuki wo ukabete wa, lyoo ni hikalulu, kyokusui no temazu saegilu sode fulete, (BENKEI dances his unsteady way along the "river bank" after his "SAKE cup." He trips, stumbles, almost falls, then at the last moment recovers his balance. Then, the dance over, and his tipsiness gone, he retrievesthe fan, folds it, and formally turns to face TOGASHI. MUSIC FADE NO. 15) Izaya mai wo mawow yow. BENKEI Sendachi, oshaku ni maitte sowlow. (He holds out the open fan to TOGASHI, thus symbolizing an offering of drink.) TOGASHI Sendachi, hitosashi onmai sowlaye. 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.) Banzei 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 Moto yoli Benkei wa, santow no yuusow, mai en nen no toki no waka. (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.) Kolenalu yamamizu no, ochite iwao ni hibiku koso, nalu wa taki no mizu, nalu wa taki no mizu. (Music) FULL CHORUS (With full orchestra accompaniment.) Nalu wa taki no mizu. Hi wa atelutomo, taezu towtali. (As the music reaches a crescendo, BENKEI rises and signals the party to leave with a single, sudden gesture of the fan. YOSHITSUNE and the retainers move swiftly down the HANAMICHI and exit at the rear of the auditorium.) Toku toku tateya, tatsutayumi no, kokolo yulusuna sekimoli no hitobito, itoma mowshite salabayo tote, (The two stage assistants help BENKEI into the oi box harness. The as he moves quickly toward the HANAMICHI, TOGASHI rises, following his progress with an intent gaze. At the HANAMICHI, BENKEI pauses, and the stands with legs spread wide apart, the staff held over his head in both hands. TOGASHI steps forward a pace, twirls the long sleeve of his kimono over his left arm, and raises his closed fan high on the air. The climactic pose is held for a moment.) oi wo ottoli kata ni uchikake (Music) Tola no o wo fumi, dokuja no kuchi wo nogaletalu kokochishite, Mutsuno kuni ezo kudali kelu. (FADE MUSIC NO. 16 BENKEI moves quickly onto the HANAMICHI, andthe curtain is run closed behind him. Again BENKEI pauses; all is silence.He cannot but think of the great sacrifice TOGASHI has made on their behalf. His eyes are drawn back toward the place where TOGASHI was a moment ago. Then his thoughts abruptly return to the many difficulties still lying ahead. MUSIC CUE NO. 17 He resolutely faces front. He twirls the staff round his head, and poses again, eyes crossed in a "MIE" Now he begins his famous"flying LOPPO," or "moving-in-six-directions-at-once,"exit. He remains poised for a long instant on one leg, bending and flexingit. Then he makes a powerful leap forward onto the other leg. Again bendingand flexing, then another leap, and another, and another. Faster and fasterhe goes, arms and legs flashing in all directions. By the times he reachesthe end of the sixty-foot HANAMICHI he is moving at full speed, in prodigious leaps and bounds, a brilliant and theatrical projection of masculine strength. As BENKEI disappears from sight through the AGEMAKU curtain, the music and clapping of the sticks reach a crescendo, then quickly taper off. FADE MUSIC NO. 17. The play ends as it began, with a few minutes of quiet drum andflute music played by the musicians off stage right. MUSIC FOR CUE NO. 1CAN BE REPEATED HERE.) |