Shin Musume Dōjōji
新娘道成寺
| [ジャンル] | 地唄 |
| [作曲様式] | 手事物 |
| [流派] | Ikuta Ryû - 生田 |
| [別名] | New Song of the Maiden of Dojoji - Kanegamisaki |
| [対象楽器] | 石川勾当 - 箏 |
| 菊岡 検校 - 三弦 |
発祥 (柘植 元一):
| Kanegamisaki ('Cape of Temple Bell'), a popular jiuta piece, is also known by another name, Shin Musume-dojoji. It is generally thought that it was adapted from a nagauta piece called Kyonganoko Musume-dojoji which accompanies a well-known kabuki dance, because the song-text of the former is virtually identical with the first third of the latter. The text is based on an old legend concerning the great temple bell of Dojoji a Buddhist temple in the province of Kishu (present Wakayama Prefecture) (1). The no play Dojoji is also based on the same story. Every year the hermit Anchin of Shirakawa (in Fukushima Prefecture) traveled south to pay his respects at the Kumano Shrine of Kishu. On these trips he stayed with Masago no Shoji, whose daughter Kiyohime fell in love with the handsome priest. Balking at her unexpected infatuation, he fled to the Dojoji temple and hid himself under the great temple bell, whereupon, in a feline fury, the girl turned herself into a demon-snake and pursued Anchin, swimming across the Hidaka River. Finding him, she wrapped herself seven-fold around the great bell, dissolving it and the poor priest in her molten anger. Much later, when the priests of Dojoji recast the bell, a female street dancer (shirabyoshi) appeared at the ceremony of the first striking, asking to be allowed to dance at the belfry. During her dance she suddenly ran under the bell. The bell sounded a great peal and fell over her. When the priests lifted the bell, an enormous snake crawled out breathing fire. Ah, the tenacity of a woman's vindictiveness! Though the song-text of Kanegamisaki does not actually include this story, the audience is assumed to be familiar with it. The text ends abruptly with an inserted ball-bouncing song which enumerates the names of the renowned pleasure quarters of the Edo period. (1) The original story is found in the Konjaku monogatari ('Ages Ago,' and eleventh century collection of Indian, Chinese and Japanese stories), Vol. 14. |
詩 (【翻訳者】 柘植 元一)
| The great temple bell Harbors myriad malices. Struck at midnight, The bell echoes The evanescence Of all things. Struck at the ghost hour, The bell echoes The birth and death Of all beings. Struck at daybreak, The bell echoes Supreme enlightenment. Struck at sunset, The bell echoes The gospel of Nirvana. All who hear understand. Clouds of the Five Womanly Obstacles Have been cleared away, And now I will enjoy The moon of absolute truth. I will not unbosom Myself to you, But my heart is disordered Like my hair. Heartless and cruel Is the fickle man. No matter what they say, Men are no good- 'Cherry blossom' dandies Vying for praise But then it's true That women in love Perform their duties Absentmindedly. No matter what they say Women are not food. Women from the capital Are shallow indeed, Yes, indeed. Count them- The villages of love, where A samurai visits without his sword, Screening his face with a deep basket-hat A town of pride and self-respect Is Yoshiwara (2). The capital of cherry blossoms Softens with song; That woman who works In Shimabara (2) - who is she with? The black robes of Sumizome (2) In Fushimi recall that evil Passions are cleared by the bell-hammer Of Shumoku-machi (2), and on To the Yosuji of Naniwa (2) And Kitsuji (2) of Nara. The little girl flowers early At Muro (2) of Harima- Truly this is The world of love. One, two, three, four Through the dew night, Snowy days and frost, He came from beyond Shimonoseki. We grew closer At Maruyama (2) of Nagasaki. I hoped it would last, and I fell in love- That was my fate. (2) Names of famous pleasure quarters in the Edo period. | Kane ni urami wa kazukazu gozaru shoya no kane wo tsuku toki wa shogyoo-mujoo to hibikunari Goya no kane wo tsuku toki wa zeshoo-meppoo to hibikunari Jinjoo no hibiki wa shoometsu-metsui iriai wa jakumetsu-iraku to hibikedo mo kiite odoroku hito mo nashi ware mo goshoo no kumo harete shinnyo no tsuki wo nagame akasan (ai) Iwazu kataranu waga kokoro midareshi kami no midaruru mo tsurenai wa tada utsurigi na doodemo otoko wa akushoomono (ai) Sakura sakura to utawarete iute tamoto no wake futatsu tsutome sae tada ukauka to doodemo onago wa akushoomono miyako-sodachi wa hasuha no monojae (tegoto) Koi no wake-zato kazoe kazoerya bushi mo doogu wo fuseamigasa de hari to ikiji no yoshiwara (ai) Hana no miyako wa uta de yawaragu shikishimabara ni tsutome suru mi wa tare to fushimi no sumizome (ai) Bonnoo bodai no shumokumachi yori naniwa-yosuji ni kayoi kitsuji kamuro-dachi kara muro no hayazaki sore ga honni iro ja hii fuu mii yoo Yotsuyu yuki no hi shimonoseki-ji mo tomo ni kono mi wo najimi kasanete naka wa maruyama tada marukare to omoisometaga en jae |
新娘道成寺 は下記のアルバムに収録されています
| アルバム | アーティスト | |
| Abe Keiko Record Set - 08 |
歌 : 阿部 桂子 三弦 : 阿部 桂子 歌 : 藤井 久仁江 三弦 : 藤井 久仁江 尺八 : 鳥井 虚霧洞 | |
 | Araki Kodo III and Fukuda Eika - Collection of Famous Performances - 01 |
尺八 : 四世 荒木 古童 尺八 : 三世 荒木 古童 |
| Fascination of the Koto 3 |
歌 : 米川 敏子 三弦 : 米川 敏子 尺八 : 山口 五郎 歌 : 佐藤 親貴 箏 : 佐藤 親貴 |
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New musume Dozyozi. Dozyozi, an old temple in Wakayama prefecutre, has a legend. A girl living near this temple falls in love with a young monk. He escapes from this girl and conceals himself inside the big temple bell. The girl's love and anger transforms her into a big snake and it burns out the bell. This legend was adopted by no theatre, kabuki, bunraku and many syamisen and koto genres, and this piece is one of the better examples. The qualification musume literally refers to a girl and designates a category of Dozyozi pieces. As this piece contains an instrumental interlude unlike the old version of Musume Dozyozi, it is called Sin musume Dozyozi. The composer is not known.
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歌 : 阿部 桂子 三弦 : 阿部 桂子 歌 : 藤井 久仁江 三弦 : 藤井 久仁江 尺八 : 鳥井 虚霧洞 | |
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