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Heima's head with it, as if it were a sword. He asks
Shiradayū and Umeōmaru to hurry to the capital, to warn the emperor of Shihei's plans. Knowing that he cannot return to the capital himself, at least not in body, having been formally exiled, he vows to return as an angry spirit. To that end, he vows to journey to the summit of Mount Tenpai, where he will engage in austere disciplines, swear oaths to the gods, and become a ghostly lord of thunders. As he speaks, a storm rises up. His retainers grasp at his sleeves and try to stop him, but he throws them off, and flies off into the sky, already beginning to transform into a thunder spirit.
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682:, and prepares to set off to find him. Just then, the false escort returns, having realized he had been tricked with a wooden statue of the minister; several times in this scene, Kan Shōjō demonstrates the mysterious ability to transform into, or otherwise replace himself with, a wooden statue. He emerges from the palanquin, and the false escort is arrested and Hyōe executed, before the minister leaves with the real escort, to a tearful farewell, bound for his exile in Dazaifu.
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764:) is snapped off. Shiradayū notices this, and points it out as an omen, representing Sakuramaru's responsibility for Kan Shōjō's downfall, as he was the one who helped bring Tokiyo and Kariya together. Kan Shōjō arrives and, together with Shiradayū, chastise Matsuōmaru and banish him from their service; Sakuramaru then emerges and announces his decision to commit
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there to kill the boy and return with his head; among all of Shihei's retainers, only Matsuōmaru is trusted to identify the boy's head. In this scene, Matsuōmaru is dressed in a dark kimono with snow and pine motifs, his hair wild and busy, a sign of the tragedy which is to come, and of the illness which he claims in order to quit Shihei's service.
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728:. The scene opens as Umeōmaru and Sakuramaru try to stop Shihei's carriage, and are confronted by Matsuōmaru, a member of the entourage. As the pair begin to unlash the oxen and tear apart the carriage, Shihei emerges, his blue face makeup marking him as a villain. He glares at them malevolently, halting their attack.
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Heima, tied up with rope, reveals Shihei's plot to seize power, describing each detail and he bemoans his fate, having failed in his mission to kill Kan Shōjō, and having been captured. Hearing of Shihei's treachery, Kan Shōjō becomes enraged, breaking off a branch from the plum tree and striking off
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Kan Shōjō passes on his secrets to Genzō, a former disciple of his who had been banished from the court after falling in love with a lady-in-waiting named Tonami. Kan Shōjō is later called before the emperor, but loses his hat, an ill omen. He is accused by Shihei of plotting, through the marriage of
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In the second scene, the triplets travel to the home of their father, Kan Shōjō's aged retainer
Shiradayū, in Sata Village, for the festive celebration of his 70th birthday. The three soon begin fighting but, with no swords at hand, attack one another with bales of hay. Though only fighting with hay
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features triplets, Umeōmaru, Sakuramaru, and Matsuōmaru, each a loyal retainer to one of the play's chief characters (Kan Shōjō, Prince Tokiyo, and Shihei, respectively). The triplets each wear a symbol on their sleeve to identify them: Ume, Sakura, and Matsu are the
Japanese words for plum blossom,
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Meanwhile, Sukune Tarō and his father Haji no Hyōe, who are in service to Shihei, prepare to assassinate Kan Shōjō. The minister's escort is meant to arrive at daybreak, and so his arrival will be signaled by a rooster's crow. Tarō and Hyōe kill
Tatsuta, Tarō's wife, and throw her body into a nearby
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Seeking to atone for his past wrongdoings, Matsuōmaru plots to save Kan Shūsai's life, at the cost of that of his own son, Kotarō. He sends Kotarō to the school, where Genzō and Tonami decide he is the only one at the school whose head could pass for Kan Shūsai's. This scene is a classic example of
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Matsuōmaru's wife, Chiyo, arrives at the school to pick up her son, and Genzō and Tonami fear for a moment that they may have to kill her too, rather than reveal their deception. But Matsuōmaru himself arrives, and explains to all involved that the boy killed was his own son, and that he did this
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This scene is among the most popular, and most frequently performed, scenes in the play. It takes place at the provincial school run by Genzō and Tonami, where they are watching over the young Kan Shūsai. Shihei suspects that this is where the minister's son is being hidden, and sends Matsuōmaru
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The play opens as an envoy from China arrives to paint a portrait of the emperor. The emperor is sick, however, and so a stand-in needs to be chosen; Shihei volunteers himself, an indication or reflection of his own lofty goals, but at the suggestion of Kan Shōjō and the decision of the emperor,
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Shihei grabs Kan Shūsai, threatening to kill him, and declaring that nothing, not even a thunder god, will stand in the way of him overthrowing the emperor and seizing power for himself. Bolts of lightning slay his minions, as Shihei stands firm. The young Kan Shūsai slips away as the ghosts of
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when he lost favor at court and was falsely accused of conspiring to seize the throne. A fictional set of triplets named Umeōmaru, Sakuramaru, and Matsuōmaru, characters invented for the play, also play a major role, each individually proving their loyalty and service to Kan Shōjō in different
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The second scene features a meeting between Prince Tokiyo and Kariya, arranged by
Sakuramaru. Kariya being a commoner, only adopted into the world of the imperial court, their love is taboo. When the meeting is discovered by one of Shihei's agents, the couple are forced to flee and hide, and
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journey, metaphorically associated with a journey through hell, features a dramatic storm and an emotional journey for Kan Shōjō, who becomes enraged at the traitorous activities of Shihei, and kills himself, becoming a thunder god. Act Five wraps up the plot quickly and returns to themes of
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The single scene of Act V is only rarely performed in bunraku, and never in kabuki. It takes place in the
Imperial Palace in Kyoto where a storm rages. In the aftermath of Kan Shōjō's death, discussions are held regarding the succession of Kan Shūsai, his son, to the head of the
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is very rarely performed in full. Instead, a selection of scenes will be chosen, or a single scene will be combined with scenes from other plays, dance dramas, or other pieces to form a day's program. The most popular, and most frequently performed, scene from this play is
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consists of twelve scenes in five acts. Though this was originally intended to be performed across the better part of a day, modes of performance have changed, and the full version would today take twice that long, due to the style and speed of current forms of acting.
671:, where Kan Shōjō waits for his escort to Dazaifu, and where Kariya stays with her older sister Tatsuta. Kariya is scolded and beaten by her mother, Kakuju, who blames her affair with Prince Tokiyo for the accusations against Kan Shōjō, her father, and for his exile.
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The following plot summary is based on the full twelve-scene version. The characters of
Sakuramaru, Umeōmaru, and Matsuōmaru are triplets who have been the beneficiaries of Kan Shōjō's favor in the past, having been placed as retainers to court officials.
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follows the traditional five-act structure and the themes traditionally associated with particular acts. Act One begins calmly and auspiciously, including scenes at the
Imperial Palace. Act Two features combat and murder. Act Three is something of a
919:. Though the clan is currently in disgrace, Prince Tokiyo argues that the storm must be caused by Kan Shōjō's angry spirit, and that acknowledging his innocence and restoring the honor of his family by making Shūsai its head would appease him.
787:), which suddenly appears there before him, having uprooted itself and flown to Dazaifu from the capital. Kan Shōjō and Shiradayū are admiring the blossoms when Umeōmaru arrives with a captive: Washizuka Heima, a minion of Shihei's.
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is chosen. As Tokiyo's love, Kariya, is the adopted daughter of Kan Shōjō, Shihei sees this as favoritism, and is disturbed. The emperor also orders Kan Shōjō to pass on his secrets of calligraphy to a disciple of his choice.
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The play ends with the priest Hosshō declaring Kan Shūsai the successor to the
Sugawara house, and the posthumous conferral upon Kan Shōjō of the Senior First Court Rank. He declares that a shrine should be constructed at
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871:(human compassion), as Genzō and Tonami sacrifice an innocent boy to save their master's son. When the sound of Genzō's sword striking off Kotarō's head is heard from offstage, Matsuōmaru strikes a distinctive
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As is standard in five-act bunraku and kabuki plays, the middle act departs from the main characters, the nobility and politics, focusing on a different set of characters, usually commoners. The third act of
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The title is frequently translated as "Sugawara no
Michizane and the Secrets of Calligraphy" or variations thereof. It might more literally be translated as "A Mirror of Sugawara's Instruction by Hand."
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pose, expressing his suppressed anguish. He then departs with the head in a box, to identify it for Shihei as Kan Shūsai's head, pretending to have done the deed and thus saving Kan Shūsai's life.
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pond; they hold a rooster over the corpse, and its crows, as Japanese superstition holds it would. The false escort prepared by Tarō and Hyōe to take Kan Shōjō away thus leaves with his passenger.
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Kakuju, discovering her daughter's body, and realizing what has happened, attacks and stabs Tarō. The real escort then arrives for Kan Shōjō, learns that the minister already left in a different
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536:. Genzō and Tonami, with the help of Umeōmaru, take Kan Shōjō's son, Kan Shūsai, with them to their small school in the provinces, in order to keep him safe from Shihei and his schemes.
378:. The full length performance was divided in to programs, the first one in November (from Act I to scene I of Act II) and the second one in December (scene I of Act II to Act V).
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The first scene of Act IV takes place at Kan Shōjō's mansion in Dazaifu, where he has been exiled. He reminisces about his favorite plum tree (
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The fundamental structure of the play is very much in keeping with that of Japanese traditional drama forms as a whole. The philosophy of
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and chants prayers to drive the ghosts off, but stops when he learns of Shihei's evil schemes. The ghosts attack Shihei once again, with
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intentionally, in order to make up for his past transgressions against Kan Shōjō and the Court, and his involvement in Shihei's schemes.
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tale, turning away from the affairs of warriors and politics to focus on the lives of commoners. Act Four, often in other plays a
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consists of six of the full twelve scenes. However, again as is the case with most plays, individual scenes or elements of
1085:" in Sugawara; "Shōjō" means, roughly, "Prime Minister." Thus, the term as a whole simply means "High Minister Sugawara."
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shrines devoted to him, and plum trees said to be this very one, his favorite from Kyoto, can still be found today at
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The play was brought to Europe by the early 20th century and translated into French and German; it was the basis for
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Unnamed actor in the role of Toneri Umemaru in Sugawara no Michizane, circa 1860–1866, Toyohara Kunichika
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Nakazō Nakamura II as Matsuō-maru (left) and Noshio Nakamura II as Chiyo in the May 1796 production of
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and other common objects, the fight scene is executed in the same style and manner as the greatest of
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Jones, Stanleigh H. Jr. (trans.) "Mount Tempai and Tumult in the Palace." in Brazell, Karen (ed.).
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style, with bright red face makeup, and Matsuōmaru is a villain, his face painted with blue lines.
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For this reason and others, kabuki plays are almost never performed in their entirety today, and
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This famous scene, "a classic example of Kabuki's stylized beauty", takes place in front of the
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fight scenes. In the course of the fight, a branch from Kan Shōjō's favorite cherry tree (
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The Travel Dance of the Sweet Talking Candy Peddler of Love (Michiyuki Kotoba no Amaikai)
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Sakuramaru and his wife appear, and attack Shihei. The Buddhist priest Hosshō rubs his
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is employed throughout, as actions, scenes, acts, and the play as a whole begin slow (
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363:(Act IV, second scene), have only been performed in bunraku, never yet in kabuki.
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may be performed alone as part of a day's program of other such bits and pieces.
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cherry blossom, and pine respectively. They are also distinguished by their
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was performed in its entirety (the ten kabuki scenes) was in 1966 at the
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The scene has been the basis of two operas, both in German: in 1913 as
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is no exception. The fullest standard version of any play is called
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The "Kan" in Kan Shōjō (菅丞相) is an alternate pronunciation of the "
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and acting style. Sakuramaru is a romantic and gentle type, in the
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From those ten scenes, the six that are still performed regularly (
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This is a common element in the legend of Sugawara no Michizane.
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branches, and kill him. The storm dispels and the ghosts depart.
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Kariya to Tokiyo, to seize power, and is subsequently exiled to
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The play is set in the 9th century, and is based on the life of
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for another kabuki play in which a similar scene unfolds. The
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to honor the minister, who shall now be worshipped as a god (
1115:). Japan Arts Council, 2001-2003. Retrieved 4 December 2008.
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The Transmission of the Secrets of Calligraphy (Hippô Denju)
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was first performed as a puppet play in August 1746 at the
252:(referred to as Kan Shōjō in the play), who was exiled to
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accompaniment to bunraku play) Retrieved 5 December 2008
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Kōshirō Matsumoto VII (1870–1949) as Fujiwara no Shihei
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1201:. New York: Columbia University Press, 1998. pp95-111.
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Traditional Japanese Theater: An Anthology of Plays
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998:Kichiemon Nakamura I (1886–1954) as Takebe Genzō
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1098:. Tokyo: Japan Travel Bureau, Inc., 1971. p98.
910:Disaster at the Imperial Palace (Ôuchi Tenpen)
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178:is a Japanese play that has been performed in
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1336:Japan Arts Council. Retrieved 4 December 2008
280:Like most full-length five-act kabuki plays,
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257:scenes. The antagonist is Fujiwara no Shihei
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518:The Banks of the Kamo River (Kamo Zutsumi)
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1268:. The International House of Japan, 2003.
974:Kikugorō Onoe VI (1885–1949) as Kan Shōjō
841:Learn how and when to remove this message
650:Learn how and when to remove this message
591:Learn how and when to remove this message
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795:The Hermitage of Kitasaga (Kitasaga)
303:form, and of the essence of kabuki.
293:"), the third scene of Act IV. The
1255:. Tokyo: Kodansha, 2004. pp155-157.
1010:Kichiemon Nakamura I as Matsuō-maru
439:, which was performed again at the
1266:Kabuki: Baroque Fusion of the Arts
604:The shore at Yasui (Yasui no Hama)
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1107:"Sugawara Denju Tenarai Kagami."
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1253:A Guide to the Japanese Stage
1066:Sugawara Denju Tenarai Kagami
986:Kikugorō Onoe VI as Umeō-maru
854:The Village School (Terakoya)
409:Sugawara Denju Tenarai Kagami
368:Sugawara Denju Tenarai Kagami
282:Sugawara Denju Tenarai Kagami
186:, and was jointly written by
160:Sugawara Denju Tenarai Kagami
40:Sugawara Denju Tenarai Kagami
21:Sugawara Denju Tenarai Kagami
1072:. Retrieved 4 December 2008.
749:The Celebration (Ga no Iwai)
405:). This is the 'tōshi kyōgen
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1183:. Retrieved 2 January 2018.
1166:. Retrieved 2 January 2018.
1160:Michiyuki Kotoba no Amaikai
1149:. Retrieved 2 January 2018.
1132:. Retrieved 2 January 2018.
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425:Michiyuki Kotoba no Amaikai
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863:the conflict between
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238:the following March.
211:Kanadehon Chūshingura
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275:Fujiwara no Tokihira
82:Fujiwara no Tokihira
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1109:Kabuki Encyclopedia
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475:insertion into the
355:Two of the scenes,
1264:Kawatake, Toshio.
945:) of scholarship.
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108:Kitagawa no Shibai
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1222:
1221:Tokiyo-shinnō
1210:Prince Tokiyo
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917:Sugawara clan
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357:Yasui no Hama
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202:. Along with
201:
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196:Namiki Sōsuke
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68:Namiki Sōsuke
65:
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1370:Kabuki plays
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1181:Kabuki21.com
1180:
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1147:Kabuki21.com
1146:
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1130:Kabuki21.com
1129:
1120:
1113:kabuki jiten
1112:
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1096:Kabuki Drama
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1070:Kabuki21.com
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831:January 2018
828:
816:plot summary
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666:
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640:January 2018
637:
625:plot summary
622:
587:
581:January 2018
578:
566:plot summary
563:
530:
521:
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493:
490:Plot summary
480:
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465:
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457:
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447:
445:
436:
433:Ôuchi Tenpen
432:
428:
424:
420:
417:World War II
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398:
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383:Kamo Zutsumi
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342:tōshi kyōgen
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243:Heian period
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39:
35:
15:
387:Hippô Denju
246:court noble
236:Ichimura-za
220:Takemoto-za
94:Takemoto-za
1360:1746 plays
1354:Categories
1340:菅原伝授手習鑑 床本
1314:Taira clan
1224:, 886–927)
1028:References
399:Ga no Iwai
395:Kurumabiki
295:Kurumabiki
74:Characters
52:Written by
1342:(Text of
1177:Tenpaizan
891:Carl Orff
680:palanquin
482:michiyuki
477:jidaimono
464:). Also,
449:jo-ha-kyū
443:in 1981.
429:Tenpaizan
324:Structure
318:Carl Orff
310:'s opera
142:jidaimono
78:Kan Shōjō
1316:samurai
1308:samurai
1111:(歌舞伎事典,
925:rosaries
693:Sugawara
669:Dōmyō-ji
472:sewamono
466:Sugawara
403:Terakoya
361:Kitasaga
350:Sugawara
346:Sugawara
338:Sugawara
330:Sugawara
287:Terakoya
216:Sugawara
131:Japanese
114:(kabuki)
44:Toyokuni
36:Terakoya
949:Gallery
873:Matsuō
823:add one
821:Please
756:aragoto
709:aragoto
686:Act III
632:add one
630:Please
573:add one
571:Please
534:Dazaifu
391:Dômyôji
300:aragoto
180:bunraku
167:菅原伝授手習鑑
149:Setting
23:菅原伝授手習鑑
1344:gidayū
1283:Tenjin
937:Kitano
929:sakura
772:Act IV
761:sakura
703:wagoto
698:makeup
540:Act II
254:Kyushu
230:. The
184:kabuki
102:jōruri
1143:Ouchi
905:Act V
869:ninjō
812:This
726:Kyoto
621:This
562:This
499:Act I
437:Ôuchi
421:Ôuchi
376:Tokyo
270:kanji
228:Kyoto
224:Osaka
137:Genre
122:Japan
112:Kyoto
98:Osaka
42:, by
38:from
1298:See
1215:斉世親王
1083:Suga
942:kami
865:giri
431:and
401:and
262:藤原時平
208:and
198:and
182:and
1279:Ume
1179:."
1162:."
1145:."
1128:."
1068:."
897:by
889:by
875:mie
784:ume
724:in
462:kyū
407:of
232:Edo
222:in
1356::
1234:^
1218:,
1188:^
1045:^
901:.
458:ha
454:jo
427:,
423:,
397:,
393:,
389:,
385:,
374:,
320:.
289:("
277:.
194:,
190:,
170:,
110:,
96:,
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1289:.
1212:(
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647:(
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638:(
627:.
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588:(
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411:.
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259:(
176:)
164:(
104:)
100:(
46:.
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