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Aigo no Waka

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168:
to mourn his mother. His stepmother sends him seven love letters a day but Waka firmly rejects her. The stepmother slanders Waka to her husband, and the boy is tied up and hung from a cherry tree. The ghost of Waka's dead mother takes the form of a weasel and saves him. She tells him to seek the help
238:
sermon, were likely used as a source for the story. There was likely an earlier version of the story that did not have section divisions and functioned more explicitly as a sermon, which in the surviving text was converted to be more
202:, Kiyohira discovers Waka's death and accuses the stepmother of his death. Kiyohira, Ajari, Waka's pet monkey and many other people leap to their deaths, and Waka is worshiped as Sannō Dai-Gongen ( 246:
It is one of few examples of a work in which a stepmother falls in love with her stepson, and Muroki interprets her resentment of her stepson for rejecting her as an example of stepchild abuse.
151:, a child (Aigo no Waka) is born to the couple, but when Aigo no Waka is thirteen his mother dies. Waka's young stepmother falls in love with him, and writes him a romantic letter. The fourth 130:, the Sixth Avenue Captain (六条の判官), who dislikes Kiyohira, attacks him on his return from the temple, but thanks to the judgement of a monk he escapes without incident. ( 378: 349: 140: 188:, drives Waka out. Waka, continuing to encounter misfortune, loses faith in the world and kills himself, leaving the 123:
for a child, his childlessness having been a source of shame for him at a palace meeting to compare treasures.
218: 71: 48: 227: 344: 131: 67: 44: 103: 90: 35: 29: 204: 120: 157: 357: 84: 23: 223: 162: 95: 372: 193:
kamikura ya / kiriyū ga taki he / mi o naguru / katari-tsutae yo / sugi no mura tatsu
119:, the Second Avenue Archivist Kiyohira (二条蔵人清平) goes with his wife to pray to the 189: 144:, speculated that this section was not present in the original performance.) 361: 174: 231: 170: 264: 185: 63: 40: 356:(in Japanese). Vol. 1. Tokyo: Iwanami Shoten. p. 3. 184:, Ajari, who believes this sudden visit must be a trick by a 234:, which was a site of reverence for the performers of these 324: 322: 320: 318: 316: 314: 312: 310: 308: 306: 304: 302: 300: 258:(愛護若物) the story had a significant influence on later 298: 296: 294: 292: 290: 288: 286: 284: 282: 280: 70:(山本九兵衛), and may have originally been written by 8: 226:. It has been noted that the legends of the 47:, and may have originally been written by 276: 328: 7: 21:(あいごの若) is the title of a Japanese 14: 379:17th-century Japanese literature 55:Authorship, publication and date 155:has Waka taking refuge in the 1: 195:(かみくらや霧生が滝へ身を投ぐる語り伝へよ杉のむら立). 350:Nihon Koten Bungaku Daijiten 141:Nihon Koten Bungaku Daijiten 39:. It was first published in 395: 216:The work as a whole is an 353: 347:(1983). "Aigo no Waka". 88:piece - specifically a 62:was first published in 27:piece - specifically a 222:associated with the 134:, in his article on 78:Genre and structure 169:of his uncle, the 256:Aigo no Waka Mono 207: 66:in early 1661 by 43:in early 1661 by 386: 365: 332: 326: 203: 166: 99: 72:Higurashi Kodayū 49:Higurashi Kodayū 394: 393: 389: 388: 387: 385: 384: 383: 369: 368: 355: 343: 340: 335: 327: 278: 274: 252: 228:Semimaru Shrine 214: 160: 113: 93: 80: 57: 12: 11: 5: 392: 390: 382: 381: 371: 370: 367: 366: 345:Muroki, Yatarō 339: 336: 334: 333: 275: 273: 270: 251: 248: 224:Hiyoshi Taisha 213: 210: 126:In the second 112: 109: 107:(段, "parts"). 79: 76: 56: 53: 13: 10: 9: 6: 4: 3: 2: 391: 380: 377: 376: 374: 363: 359: 352: 351: 346: 342: 341: 337: 330: 325: 323: 321: 319: 317: 315: 313: 311: 309: 307: 305: 303: 301: 299: 297: 295: 293: 291: 289: 287: 285: 283: 281: 277: 271: 269: 267: 266: 261: 257: 249: 247: 244: 242: 237: 233: 229: 225: 221: 220: 211: 209: 206: 201: 198:In the final 196: 194: 191: 187: 183: 180:In the fifth 178: 176: 172: 167: 164: 159: 154: 150: 147:In the third 145: 143: 142: 137: 133: 132:Yatarō Muroki 129: 124: 122: 118: 115:In the first 110: 108: 106: 105: 100: 97: 92: 87: 86: 77: 75: 73: 69: 68:Yamamoto Kuhē 65: 61: 54: 52: 50: 46: 45:Yamamoto Kuhē 42: 38: 37: 32: 31: 26: 25: 20: 19: 348: 331:, p. 3. 263: 259: 255: 253: 245: 240: 235: 230:(蟬丸の宮) near 217: 215: 199: 197: 192: 181: 179: 156: 152: 148: 146: 139: 136:Aigo no Waka 135: 127: 125: 116: 114: 102: 91:sekkyō-setsu 89: 83: 81: 60:Aigo no Waka 59: 58: 34: 30:sekkyō-setsu 28: 22: 18:Aigo no Waka 17: 16: 15: 338:Works cited 329:Muroki 1983 161: [ 121:Hase Kannon 94: [ 272:References 190:death poem 173:(monk) of 354:日本古典文学大辞典 250:Influence 158:jibutsudō 101:- in six 74:(日暮小太夫). 33:- in six 373:Category 362:11917421 243:-like". 212:Analysis 175:Hiei-zan 138:for the 82:It is a 268:plays. 360:  265:kabuki 260:jōruri 241:jōruri 236:jōruri 85:jōruri 24:jōruri 186:tengu 171:Ajari 165:] 98:] 64:Kyoto 41:Kyoto 358:OCLC 262:and 232:Ōtsu 219:engi 111:Plot 254:As 208:). 200:dan 182:dan 153:dan 149:dan 128:dan 117:dan 104:dan 36:dan 375:: 279:^ 205:ja 177:. 163:ja 96:ja 51:. 364:. 239:"

Index

jōruri
sekkyō-setsu
dan
Kyoto
Yamamoto Kuhē
Higurashi Kodayū
Kyoto
Yamamoto Kuhē
Higurashi Kodayū
jōruri
sekkyō-setsu
ja
dan
Hase Kannon
Yatarō Muroki
Nihon Koten Bungaku Daijiten
jibutsudō
ja
Ajari
Hiei-zan
tengu
death poem
ja
engi
Hiyoshi Taisha
Semimaru Shrine
Ōtsu
kabuki

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