The Vendetta of the 47 Rōnin in Modern Kabuki: A Translation of Mayama Seika’s Genroku Chūshingura

Edited by Paul Griffith and Rachel Payne
Translated by Brian Powell, Paul Griffith and Ronald Cavaye

Brill’s Japanese Studies Library (2024)
ISBN-13: 978-9004547292

Review by Trevor Skingle

Each year in Japan, commemorative events are held from 13 to 15 December to mark the anniversary of the date in the 12 month of the year 15 of the Genroku era (1688-1704) when the Chushingura, commonly referred to as the Forty-Seven Ronin, executed their attack on and killed Kira Yoshinaka. This act was in retribution for the earlier sentence of seppuku on their Lord, Asano Naganori, the daimyo of Ako, for his assault on Kira in the Matsu no Oroka, the Great Pine Corridor of Edo Castle. This vendetta is one of the three most renowned in Japan's history and has gained increasing recognition worldwide, inspiring kabuki playwrights to adapt the tale for the stage, resulting in numerous masterpieces.

The book in review here, The Vendetta of the 47 Rōnin in Modern Kabuki focuses on the kabuki work Genroku Chushingura which consists of ten plays written by the novelist and shinpa (modern theatre) and shinkabuki (new kabuki) playwright Mayama Seika between 1934 and 1941. Although the premieres of these plays did not necessarily occur in the chronological sequence that aligns with the overall narrative cycle, Genroku Chushingura stands as one of the most historically accurate interpretations of the saga within the modern theatrical repertoire. It draws its inspiration from Kanadehon Chushingura, an adaptation created by Takeda Izumo, Namiki Sosuke (Senryu) and Miyoshi Shoraku, which is itself based on the original bunraku puppet play from 1748, staged as a kabuki performance in the same year.

The various adaptations of this historical period drama (jidaimono) typically blend themes of bushido (samurai’s moral code) with dramatic portrayals of sword fighting. However, as can be seen in this interpretation, Mayama Seika's adaptation shifts the emphasis towards a more intricate exploration of the dynamics at play. It delves deeper into the concept of ko, which embodies respect and deference, leading to giri, the essential fulfilment of moral obligations. It also highlights perspectives that are often overlooked in other interpretations, bringing to light the underlying factors that influence the narrative's outcomes. These include the tensions between the principles of bushido, the ethical and social tenets of Confucianism, individual values, political pragmatism, personal motivations, compassion, and the rigid legal frameworks of the court governance of the bakufu (shogunate). As evidenced in the scripts, this results in intense and compelling interactions among the main characters.

The introduction to the plays in the book is quite thorough, and as noted, the incorporation of historical details and plausible interpretations in this adaptation exemplifies the distinctive style of Mayama Seika.

However, a couple of pieces of information warrant clarification. Firstly, in the Introduction it states that ‘forty-seven of these rōnin broke into Kira’s Edo mansion and killed him. Then they made their way to Asano’s family temple where they presented Kira’s head before their master’s grave’ (p. 2). Whilst in the Introduction it says forty-seven in almost all extant literature this figure is forty-six (the number forty-six is repeated several times in the final play in Seika’s cycle of plays, ‘Oishi Saigo no Ichinichi’ in Seika’s description of this play’s context on page 475, where Seika also emphasises his rigorous attention to historical detail, and in the dialogues on pages 486, 508, 519, 520, 531 and 532). It is also highly likely that it was the same forty-six who arrived at Asano’s family temple, Sengakuji, as one of the forty-seven, the 36-year-old Terasaka Kichiemon Nobuyuki,was sent by their leader, Oishi Kuranosuke, to inform Yozein, Lord Asano’s widow, who was living at a property on grounds adjacent to Hikawa Shinto shrine (in modern Akasaka, Tokyo) , of the killing of Lord Kira. Terasaka was the only one of the forty-seven who did not commit seppuku. He was subsequently pardoned by the shogun, became a priest and tended the graves of the others, living to the age of 82.

Secondly, it also states in the Introduction that, ‘Their mission now completed, the men gave themselves up to the authorities and were placed in confinement in three daimyo mansions awaiting their sentence’ (p. 2). They were in fact split between four mansions; ten ronin at the mansion of Hisamatsu Matsudaira Sadanao (now the Italian Embassy), nine ronin at the Mita Kenmotsu residence (not far from Exit A3 of Mita Metro Station), seventeen ronin at the Hosokawa Tsunatoshi Mansion (NNW of Sengakuji Temple, off Nihonenoki Dori and adjacent to and south of Minato Ward’s Takamatsu Junior High School), and ten ronin at the Mōri Tsunamoto Mansion (which was located in what are now the Mori Teien Garden in Roppongi Hills) – see my document Individual Biographies of the 47 Loyal Retainers.

The complete performance of the entire repertoire of the Genroku Chushingura cycle is not staged these days. This observation is noted in the English language guide accompanying the March 2009 performance of six selected plays (Edojo no Ninjo, Saigo no Ohyojo, Ohama Goten Tsunatoyokyo, Nambuzaka no Yuki Wakare, Sengoku Yashiki, Oishi Saigo no Ichinichi) found in Volume 2 of the DVD series Kabukiza sayonara koen (Farewell to the Kabukiza). However, individual performances of at least two of these plays, which are regarded as masterpieces in their own right, continue to take place.

The expertise of the translators and editors of this book is indisputable. A thorough examination of the English language synopses found in numerous kabuki programmes, along with the English commentaries from previous performances and a variety of articles and books on kabuki, clearly demonstrates their deep engagement with the genre. This series of plays features the typical concealed plot mechanisms characteristic of such narratives. Nevertheless, for this reviewer, the presence and application of nuanced sharé (puns), which are prevalent in many kabuki dialogues, necessitate further exploration of these English translations to reveal the existence of underlying subtexts, exposing the hidden vs true intentions of the characters.

While it is clearly a work of passion, it is also quite substantial, and given its price, this is to be expected. It seems unlikely that this would appeal to the average reader; rather, it is likely intended for academic institutions and dedicated kabuki enthusiasts. Consequently, it would serve as a valuable addition to the translated materials available for institutions that offer courses on kabuki and present performances in English, such as Portland State University, the University of Hawaii, and Za Kabuki at the Australian National University. For casual kabuki fans, the summaries found in performance programmes and DVDs may be more appropriate.

For dedicated kabuki enthusiasts, the ‘Selected Bibliography’ section includes a reference to the previously mentioned Volume 2 DVD set from the Kabukiza sayonara koen (Farewell to the Kabukiza). This set features performances of six out of the ten-play cycle and offers exceptional viewing quality. Additionally, as noted in the Introduction, it has ‘English language translations and commentary by all three of the translators here and narrated by Paul Griffith’ (p. 12). However, it is important to recognise that each individual volume in the series represents a significant financial investment and may be more suited for serious fans rather than casual enthusiasts.

An engaging exercise involves following the performance of the plays while simultaneously reading the script. It is evident that kakegoe calls and shouts from the audience and pauses, known as ma, are integral to the experience of watching the play unfold. Kakegoe relies on the caller’s awareness of when to signal moments of emphasis, highlighting the dynamic interaction between the spectators and the unfolding action and dialogue in kabuki, and these moments of interaction often signify the presence of ma. There are instances when the dialogue pauses sufficiently during scene changes or stage rotations to allow for observation of the performance and comparison with the written stage directions. Occasionally traditional kabuki postures are employed for dramatic emphasis at key moments. It is important to note that when watching and reading concurrently, there is insufficient time to thoroughly engage with the stage directions without interrupting the performance. Nevertheless, this translation offers insights that enhance the viewing experience, providing a richer understanding that cannot be obtained from merely watching the plays. The act of reading the script and watching the performances serve to enhance one another.

It is commendable that the book has footnotes that perhaps offer a more comprehensive understanding of the content that may not have been fully articulated in Seika’s original work: for instance, the hidden meaning of Asano Naganori’s death poem. To accompany the scripts there is a comprehensive list of Japanese mon (family crests) appropriate to the play, a translation of the terms for Japanese clothing, a glossary and a selected bibliography. All in all this book is an achievement that is to be applauded!