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Chikamatsu Monzaemon

June 25, 2023

Chikamatsu Monzaemon (近松 門左衛門, real name Sugimori Nobumori, 杉森 信盛, 1653 – 6 January 1725) was a Japanese dramatist of jōruri, the form of puppet theater that later came to be known as bunraku, and the live-actor drama, kabuki. The Encyclopædia Britannica has written that he is "widely regarded as the greatest Japanese dramatist".[2] His most famous plays deal with double-suicides of honor bound lovers. Of his puppet plays, around 70 are jidaimono (時代物) (historical romances) and 24 are sewamono (世話物) (domestic tragedies). The domestic plays are today considered the core of his artistic achievement, particularly works such as The Courier for Hell (1711) and The Love Suicides at Amijima (1721). His histories are viewed less positively, though The Battles of Coxinga (1715) remains praised.

Chikamatsu Monzaemon
Born
Sugimori Nobumori

1653 (1653)
Echizen Province (Currently Fukui Prefecture, Japan)
DiedJanuary 6, 1724(1724-01-06) (aged 70–71)[1]
In this Japanese name, the surname is Chikamatsu.

Biography

Chikamatsu was born Sugimori Nobumori[3] to a samurai family. There is disagreement about his birthplace. The most popular theory[4] suggests he was born in Echizen Province, but there are other plausible locations, including Hagi, Nagato Province. His father, Sugimori Nobuyoshi, served the daimyō Matsudaira in Echizen as a medical doctor. Chikamatsu's younger brother became a medical doctor, and Chikamatsu himself wrote a book on health care.

 
Tomb of Chikamatsu at Kousai Temple

In those days, doctors who served the daimyōs held samurai status. But Chikamatsu's father lost his office and became a rōnin, a masterless samurai. At some point in his teens, between 1664 and 1670, Chikamatsu moved to Kyoto with his father[5] where he served for a few years as an obscure page for a noble family, but other than that, little is known about this period of Chikamatsu's life. He published his first known literary work in this period, a haiku that appeared in 1671.[5] After serving as a page, he next appears in records of the Gonshō-ji (近松寺) temple (long suggested as the origin of his pen name "Chikamatsu", which is kun reading of 近松) in Ōmi Province, in present-day Shiga Prefecture.

With the production in 1683 of his puppet play in Kyoto about the Soga brothers (The Soga Successors or "The Soga Heir"; Yotsugi Soga), Chikamatsu became known as a playwright. The Soga Successors is believed to have been Chikamatsu's first play although sometimes 15 earlier anonymous plays are contended to have been by Chikamatsu as well. Chikamatsu also wrote plays for the kabuki theatre between 1684 and 1695, most of which were intended to be performed by a famous actor of the day, Sakata Tōjūrō (1647–1709).[3] After 1695, and until 1705, Chikamatsu wrote almost exclusively Kabuki plays, and then he abruptly almost completely abandoned that genre. The exact reason is unknown, although speculation is rife: perhaps the puppets were more biddable and controllable than the ambitious kabuki actors, or perhaps Chikamatsu did not feel kabuki worth writing for since Tōjūrō was about to retire, or perhaps the growing popularity of the puppet theater was economically irresistible. C. Andrew Gerstle argues that Chikamatsu's collaborations with various performers affected his development as a playwright. His collaborations with kabuki practitioners led to more realistic characters, while his later collaboration with Takeda Izumo led to a heightened theatricality.[6]

In 1705, Chikamatsu became a "Staff Playwright" as announced by early editions of The Mirror of Craftsmen of the Emperor Yōmei. In 1705 or 1706,[7] Chikamatsu left Kyoto for Osaka, where the puppet theater was even more popular.[8] Chikamatsu's popularity peaked with his domestic plays of love-suicides, and with the blockbuster success of The Battles of Coxinga in 1715, but thereafter the tastes of patrons turned to more sensational gore fests and otherwise more crude antics; Chikamatsu's plays would fall into disuse, so even the actual music would be lost for many plays. He died January 6, 1725, in either Amagasaki in Hyōgo,[2] or Osaka.

In 1706, he wrote a three-act puppet play entitled Goban Taiheiki ("A chronicle of great peace played on a chessboard"), based on the story of the Forty-seven rōnin; this became the basis of the later and much better-known Chūshingura.

Chikamatsu was the first known Japanese playwright who did not act in the pieces he wrote.[citation needed] Currently, 130 plays have been verified to have been authored by Chikamatsu, with another 15 plays (mostly early Kabuki works) suspected to also have been penned by him.

Quotations

  • "Art is something that lies in the slender margin between the real and the unreal." — Chikamatsu Monzaemon, Naniwa Miyage[2]

Reception

Chikamatsu's bunraku (jōruri) pieces, of which 24 are sewamono (domestic plays),[9] came to be regarded as high literature in the Meiji and Taishō eras.[10] Many have argued that his genius was “his masterful depiction of the passions, obsessions, and irrationality of the human heart.” While Chikamatsu's jidaimono (history plays) were considered more important in his own time, the domestic tragedies are now “the main focus of critical attention and the more frequently performed”,[11] praised as deeply drawn in their portrayals of commoners. The Love Suicides at Sonezaki (1703), one of the earliest domestic plays in puppet theater, was a hit that revived the fortunes of the Takemoto Theater in Osaka.[12] While it is not considered as strong as his later play The Love Suicides at Amijima (1721), Donald Keene praised the death passage as “one of the loveliest passages in Japanese literature”.[13] Also, it was written in Early Modern Japanese Literature: An Anthology, 1600-1900 that The Drum of the Waves of Horikawa (1707) is “of considerable interest for its exploration of female sexuality and its implicit critique of the life of lower-level samurai”.[14] Rei Sasaguchi listed the same play as one of Chikamatsu's most striking bunraku works along with The Couriers of Love to the Other World.[15]

The Love Suicides at Amijima is generally regarded as the greatest of his domestic plays,[16] though The Courier for Hell (1711), The Uprooted Pine (1718), and The Woman-Killer and the Hell of Oil (1721) have also been praised as works “of exceptional power”.[17] The last of the three initially was not well-received, and acquired a high reputation only in the late 19th century.[18] Robert Nichols wrote that The Almanac of Love (1715) is highly regarded.[19] Kenneth P. Kirkwood argued that the work is somewhat thin in texture but “nevertheless reveals the playwright’s skill in making a dramatic plot out of the slightest materials.”[20] In a review of Gerstle's Chikamatsu: Five Late Plays, Katherine Saltzman-Li praised the "depth of character" achieved in Twins at the Sumida River (1720) through the various allusions.[6]

The histories are mostly considered weaker, with Nichols writing that character in them tends to be subordinated to plot.[19] The Battles of Coxinga (1715), however, ran for seventeen months and became the classical model for later history plays. It remains in the repertoires of both the bunraku and kabuki traditions,[21] and Donald Keene referred to it as the only jidaimono “with real literary value”.[22] Keisei hotoke no hara (1699) and Keisei mibu dainembutsu (1702) are among the most renowned kabuki plays,[23][24] though Keene argued that even they are “inferior in every respect” to the jōruri works written around the same period. Nichols listed The Courtesan’s Frankincense, The Tethered Steed, and Fair Ladies at a Game of Poem-Cards as the best histories.[19] Anne Walthall at UC Irvine said that the "vivid portrayal of interpersonal relations and individual personality [in Love Suicides on the Eve of the Kōshin Festival] provides excellent evidence why Chikamatsu's domestic plays have become more popular than his historical dramas."[25] "Devil’s Island", the second scene of the second act of Heike and the Island of Women (1719), became part of the kabuki repertory in the 19th century and today is usually performed in jōruri and kabuki as a single play.[26]

Adaptations

Film adaptations

  • Kenji Mizoguchi's black and white film Chikamatsu Monogatari (literally, 'a story from Chikamatsu' but given titles in French "Les amants crucifiées" and in English "The Crucified Lovers"] is a 1954 film based on a domestic lover-suicide play by Chikamatsu called Daikyōji Mukashi Goyomi (1715).
  • Masahiro Shinoda's celebrated 1969 film, Shinjū: Ten no Amijima (billed in English as Double Suicide) employs cinematic techniques based on bunraku conventions and takes as its basis Chikamatsu's play The Love Suicides at Amijima.

Opera

References in popular culture

  • In the fictional world of Naruto, the first ninja puppeteer is named Chikamatsu Monzaemon, a reference to Chikamatsu's puppet plays.
  • In the Digimon multimedia franchise, a puppet Digimon by the name of Monzaemon—an obvious homage to Chikamatsu—was one of the first characters in the original line of virtual pets.

Major works

 
Statue of Chikamatsu Monzaemon at Amagasaki, Hyogo

Jōruri

Kabuki

  • The Courtesan on Buddha Plain[1] (Keisei hotoke no hara けいせい仏の原) (1699)

Critical work

  • Naniwa Miyage (1738; written by a friend and preserving a number of statements by Chikamatsu on the art of the puppet theater)

Translations into English

  • Major Plays of Chikamatsu, translated and introduced by Donald Keene. NY: Columbia University Press. 1961/1990.
  • Chikamatsu: Five Late Plays, translated by C. Andrew Gerstle. 2001. Consists of:
    • Twins at the Sumida River (Futago sumidagawa, 1720)
    • Lovers Pond in Settsu Province (Tsu no kuni meoto-ike, 1721)
    • Battles at Kawa-nakajima (Shinsh kawa-nakajima kassen, 1721)
    • Love Suicides on the Eve of the Kishin Festival (Shinju yoigoshin, 1722)
    • Tethered Steed and the Eight Provinces of Kanto (Kanhasshu tsunagi-uma, 1724)

See also

References

  1. ^ Kamikaji, Ai (2003). "Review of Chikamatsu: Five Late Plays". Bulletin of the School of Oriental and African Studies, University of London. 66 (3): 520–522. ISSN 0041-977X. "[...] all the reliable sources I have found in Japan clearly state that Chikamatsu died in 1724, even while quoting the playwright's age at death as 72. In traditional Japanese calculations of age, a new born baby is one year old in its first year of life with a year added to its age every New Year's Day. Therefore, I feel that perhaps it should be explained that in terms of the Gregorian calendar Chikamatsu died aged 71 in 1724."
  2. ^ a b c "Chikamatsu Monzaemon". 2006. Encyclopædia Britannica Online. 12 November 2006.
  3. ^ a b "Introduction", Four Major Plays of Chikamatsu, p. 4.
  4. ^ Mori, Shū, Chikamatsu Monzaemon, pp. 12–15.
  5. ^ a b "Introduction", Four Major Plays of Chikamatsu, p. 3.
  6. ^ a b Saltzman-Li, Katherine (2002). "Review of Chikamatsu: Five Late Plays". Asian Theatre Journal. 19 (2): 358. ISSN 0742-5457 – via JSTOR.
  7. ^ The Encyclopædia Britannica states that "he moved in 1705 from Kyoto to Osaka to be nearer to Gidayu's puppet theatre, the Takemoto-za. Chikamatsu remained a staff playwright for this theatre until his death." although Keene states he moved in 1706.
  8. ^ "Introduction", Four Major Plays of Chikamatsu, pp. 4–6.
  9. ^ Classe, O. (2000). Encyclopedia of Literary Translation Into English: A-L. Taylor & Francis. p. 275. ISBN 9781884964367.
  10. ^ Kanemitsu, Janice Shizue. "Guts and Tears: Kinpira Jōruri and Its Textual Transformations" (PDF). University of Colorado Boulder.
  11. ^ Shirane 2002, p. 283.
  12. ^ Shirane 2002, p. 242.
  13. ^ "Chickamatsu Monzaemon". washburn.edu. Retrieved 2019-07-12.
  14. ^ Shirane 2002, p. 260.
  15. ^ Sasaguchi, Rei (2002-02-20). "Master of life's joys and sorrows". The Japan Times. Retrieved 2019-07-12.
  16. ^ Shirane 2002, p. 313.
  17. ^ Gassner, John; Quinn, Edward (2002-01-01). The Reader's Encyclopedia of World Drama. Courier Corporation. p. 125. ISBN 9780486420646.
  18. ^ Chikamatsu, Monzaemon (1990). Major Plays of Chikamatsu. Columbia University Press. p. 425. ISBN 9780231074155.
  19. ^ a b c Nichols 2010, p. 42.
  20. ^ Kirkwood, Kenneth P. (2012-08-21). Renaissance in Japan: A Cultural Survey of the Seventeenth Century. Tuttle Publishing. ISBN 9781462912094.
  21. ^ Shirane 2002, p. 241.
  22. ^ Keene 1999, p. 263.
  23. ^ Kanazawa, Shizue; Kobayashi, Tadashi; Yoshikawa, Itsuji; Hōgetsu, Keigo; Sakamato, Tarō; Iwao, Seiichi (1975). "47. Chikamatsu Monzaemon (1653-1724)". Dictionnaire Historique du Japon. 3 (1): 33–35.
  24. ^ Keene 1999, p. 251.
  25. ^ Walthall, Anne (2002). "Review of Chikamatsu: Five Late Plays". Monumenta Nipponica. 57 (2): 247. ISSN 0027-0741 – via JSTOR.
  26. ^ Shirane 2002, p. 301.
  27. ^ "KUBO Mayako : Osan, from "Shinju Ten no Amejima"". www.nntt.jac.go.jp. Retrieved 2020-11-08.

Sources

  • Keene, Donald (1999). World Within Walls: Japanese Literature of the Pre-modern Era, 1600-1867, Volume 1. Columbia University Press. ISBN 0231114672.
  • Nichols, Robert (2010). Masterpieces of Chikamatsu. Routledge. ISBN 978-1136913433.
  • Shirane, Haruo, ed. (2002). Early Modern Japanese Literature: An Anthology, 1600-1900. Columbia University Press. ISBN 0231507437.

Further reading

  • Circles of Fantasy: Convention in the Plays of Chikamatsu by C. Andrew Gerstle. 1986 (a critical study of Chikamatsu's plays).

External links

  • English translation of The Tethered Steed, translated by Asataro Miyamori and revised by Robert Nichols

June 25, 2023
chikamatsu, monzaemon, 近松, 門左衛門, real, name, sugimori, nobumori, 杉森, 信盛, 1653, january, 1725, japanese, dramatist, jōruri, form, puppet, theater, that, later, came, known, bunraku, live, actor, drama, kabuki, encyclopædia, britannica, written, that, widely, re. Chikamatsu Monzaemon 近松 門左衛門 real name Sugimori Nobumori 杉森 信盛 1653 6 January 1725 was a Japanese dramatist of jōruri the form of puppet theater that later came to be known as bunraku and the live actor drama kabuki The Encyclopaedia Britannica has written that he is widely regarded as the greatest Japanese dramatist 2 His most famous plays deal with double suicides of honor bound lovers Of his puppet plays around 70 are jidaimono 時代物 historical romances and 24 are sewamono 世話物 domestic tragedies The domestic plays are today considered the core of his artistic achievement particularly works such as The Courier for Hell 1711 and The Love Suicides at Amijima 1721 His histories are viewed less positively though The Battles of Coxinga 1715 remains praised Chikamatsu MonzaemonBornSugimori Nobumori1653 1653 Echizen Province Currently Fukui Prefecture Japan DiedJanuary 6 1724 1724 01 06 aged 70 71 1 In this Japanese name the surname is Chikamatsu Contents 1 Biography 2 Quotations 3 Reception 4 Adaptations 4 1 Film adaptations 4 2 Opera 5 References in popular culture 6 Major works 6 1 Jōruri 6 2 Kabuki 6 3 Critical work 6 4 Translations into English 7 See also 8 References 9 Sources 10 Further reading 11 External linksBiography EditChikamatsu was born Sugimori Nobumori 3 to a samurai family There is disagreement about his birthplace The most popular theory 4 suggests he was born in Echizen Province but there are other plausible locations including Hagi Nagato Province His father Sugimori Nobuyoshi served the daimyō Matsudaira in Echizen as a medical doctor Chikamatsu s younger brother became a medical doctor and Chikamatsu himself wrote a book on health care Tomb of Chikamatsu at Kousai Temple In those days doctors who served the daimyōs held samurai status But Chikamatsu s father lost his office and became a rōnin a masterless samurai At some point in his teens between 1664 and 1670 Chikamatsu moved to Kyoto with his father 5 where he served for a few years as an obscure page for a noble family but other than that little is known about this period of Chikamatsu s life He published his first known literary work in this period a haiku that appeared in 1671 5 After serving as a page he next appears in records of the Gonshō ji 近松寺 temple long suggested as the origin of his pen name Chikamatsu which is kun reading of 近松 in Ōmi Province in present day Shiga Prefecture With the production in 1683 of his puppet play in Kyoto about the Soga brothers The Soga Successors or The Soga Heir Yotsugi Soga Chikamatsu became known as a playwright The Soga Successors is believed to have been Chikamatsu s first play although sometimes 15 earlier anonymous plays are contended to have been by Chikamatsu as well Chikamatsu also wrote plays for the kabuki theatre between 1684 and 1695 most of which were intended to be performed by a famous actor of the day Sakata Tōjurō 1647 1709 3 After 1695 and until 1705 Chikamatsu wrote almost exclusively Kabuki plays and then he abruptly almost completely abandoned that genre The exact reason is unknown although speculation is rife perhaps the puppets were more biddable and controllable than the ambitious kabuki actors or perhaps Chikamatsu did not feel kabuki worth writing for since Tōjurō was about to retire or perhaps the growing popularity of the puppet theater was economically irresistible C Andrew Gerstle argues that Chikamatsu s collaborations with various performers affected his development as a playwright His collaborations with kabuki practitioners led to more realistic characters while his later collaboration with Takeda Izumo led to a heightened theatricality 6 In 1705 Chikamatsu became a Staff Playwright as announced by early editions of The Mirror of Craftsmen of the Emperor Yōmei In 1705 or 1706 7 Chikamatsu left Kyoto for Osaka where the puppet theater was even more popular 8 Chikamatsu s popularity peaked with his domestic plays of love suicides and with the blockbuster success of The Battles of Coxinga in 1715 but thereafter the tastes of patrons turned to more sensational gore fests and otherwise more crude antics Chikamatsu s plays would fall into disuse so even the actual music would be lost for many plays He died January 6 1725 in either Amagasaki in Hyōgo 2 or Osaka In 1706 he wrote a three act puppet play entitled Goban Taiheiki A chronicle of great peace played on a chessboard based on the story of the Forty seven rōnin this became the basis of the later and much better known Chushingura Chikamatsu was the first known Japanese playwright who did not act in the pieces he wrote citation needed Currently 130 plays have been verified to have been authored by Chikamatsu with another 15 plays mostly early Kabuki works suspected to also have been penned by him Quotations Edit Art is something that lies in the slender margin between the real and the unreal Chikamatsu Monzaemon Naniwa Miyage 2 Reception EditChikamatsu s bunraku jōruri pieces of which 24 are sewamono domestic plays 9 came to be regarded as high literature in the Meiji and Taishō eras 10 Many have argued that his genius was his masterful depiction of the passions obsessions and irrationality of the human heart While Chikamatsu s jidaimono history plays were considered more important in his own time the domestic tragedies are now the main focus of critical attention and the more frequently performed 11 praised as deeply drawn in their portrayals of commoners The Love Suicides at Sonezaki 1703 one of the earliest domestic plays in puppet theater was a hit that revived the fortunes of the Takemoto Theater in Osaka 12 While it is not considered as strong as his later play The Love Suicides at Amijima 1721 Donald Keene praised the death passage as one of the loveliest passages in Japanese literature 13 Also it was written in Early Modern Japanese Literature An Anthology 1600 1900 that The Drum of the Waves of Horikawa 1707 is of considerable interest for its exploration of female sexuality and its implicit critique of the life of lower level samurai 14 Rei Sasaguchi listed the same play as one of Chikamatsu s most striking bunraku works along with The Couriers of Love to the Other World 15 The Love Suicides at Amijima is generally regarded as the greatest of his domestic plays 16 though The Courier for Hell 1711 The Uprooted Pine 1718 and The Woman Killer and the Hell of Oil 1721 have also been praised as works of exceptional power 17 The last of the three initially was not well received and acquired a high reputation only in the late 19th century 18 Robert Nichols wrote that The Almanac of Love 1715 is highly regarded 19 Kenneth P Kirkwood argued that the work is somewhat thin in texture but nevertheless reveals the playwright s skill in making a dramatic plot out of the slightest materials 20 In a review of Gerstle s Chikamatsu Five Late Plays Katherine Saltzman Li praised the depth of character achieved in Twins at the Sumida River 1720 through the various allusions 6 The histories are mostly considered weaker with Nichols writing that character in them tends to be subordinated to plot 19 The Battles of Coxinga 1715 however ran for seventeen months and became the classical model for later history plays It remains in the repertoires of both the bunraku and kabuki traditions 21 and Donald Keene referred to it as the only jidaimono with real literary value 22 Keisei hotoke no hara 1699 and Keisei mibu dainembutsu 1702 are among the most renowned kabuki plays 23 24 though Keene argued that even they are inferior in every respect to the jōruri works written around the same period Nichols listed The Courtesan s Frankincense The Tethered Steed and Fair Ladies at a Game of Poem Cards as the best histories 19 Anne Walthall at UC Irvine said that the vivid portrayal of interpersonal relations and individual personality in Love Suicides on the Eve of the Kōshin Festival provides excellent evidence why Chikamatsu s domestic plays have become more popular than his historical dramas 25 Devil s Island the second scene of the second act of Heike and the Island of Women 1719 became part of the kabuki repertory in the 19th century and today is usually performed in jōruri and kabuki as a single play 26 Adaptations EditFilm adaptations Edit Kenji Mizoguchi s black and white film Chikamatsu Monogatari literally a story from Chikamatsu but given titles in French Les amants crucifiees and in English The Crucified Lovers is a 1954 film based on a domestic lover suicide play by Chikamatsu called Daikyōji Mukashi Goyomi 1715 Masahiro Shinoda s celebrated 1969 film Shinju Ten no Amijima billed in English as Double Suicide employs cinematic techniques based on bunraku conventions and takes as its basis Chikamatsu s play The Love Suicides at Amijima The Love Suicides at Sonezaki 1978 film The Love Suicides at Sonezaki 1981 film Opera Edit Japanese composer Mayako Kubo s opera Osan 27 an adaptation of Shinju Ten no Amijima that premiered at the New National Theatre Tokyo in February 2005 References in popular culture EditIn the fictional world of Naruto the first ninja puppeteer is named Chikamatsu Monzaemon a reference to Chikamatsu s puppet plays In the Digimon multimedia franchise a puppet Digimon by the name of Monzaemon an obvious homage to Chikamatsu was one of the first characters in the original line of virtual pets Major works Edit Statue of Chikamatsu Monzaemon at Amagasaki Hyogo Jōruri Edit Kagekiyo Victorious Shusse kagekiyo 出世景清 1685 The Love Suicides at Sonezaki Sonezaki shinju 曾根崎心中 1703 The Night Song of Yosaku from Tamba Tamba Yosaku machiyo no komurobushi 丹波与作待夜のこむろぶし The Courier for Hell Meido no hikyaku 冥途の飛脚 1711 The Almanac of Love Koi hakke hashiragoyomi 1715 The Battles of Coxinga Kokusen ya kassen 国姓爺合戦 1715 The Uprooted Pine Nebiki no Kadomatsu 寿の門松 1718 The Love Suicides at Amijima Shinju Ten no Amijima 心中天網島 1721 The Woman Killer and the Hell of Oil Onnagoroshi abura no jigoku 女殺油地獄 1721 Kabuki Edit The Courtesan on Buddha Plain 1 Keisei hotoke no hara けいせい仏の原 1699 Critical work Edit Naniwa Miyage 1738 written by a friend and preserving a number of statements by Chikamatsu on the art of the puppet theater Translations into English Edit Major Plays of Chikamatsu translated and introduced by Donald Keene NY Columbia University Press 1961 1990 Chikamatsu Five Late Plays translated by C Andrew Gerstle 2001 Consists of Twins at the Sumida River Futago sumidagawa 1720 Lovers Pond in Settsu Province Tsu no kuni meoto ike 1721 Battles at Kawa nakajima Shinsh kawa nakajima kassen 1721 Love Suicides on the Eve of the Kishin Festival Shinju yoigoshin 1722 Tethered Steed and the Eight Provinces of Kanto Kanhasshu tsunagi uma 1724 See also EditJapanese literature List of Japanese authors GagakuReferences Edit Kamikaji Ai 2003 Review of Chikamatsu Five Late Plays Bulletin of the School of Oriental and African Studies University of London 66 3 520 522 ISSN 0041 977X all the reliable sources I have found in Japan clearly state that Chikamatsu died in 1724 even while quoting the playwright s age at death as 72 In traditional Japanese calculations of age a new born baby is one year old in its first year of life with a year added to its age every New Year s Day Therefore I feel that perhaps it should be explained that in terms of the Gregorian calendar Chikamatsu died aged 71 in 1724 a b c Chikamatsu Monzaemon 2006 Encyclopaedia Britannica Online 12 November 2006 a b Introduction Four Major Plays of Chikamatsu p 4 Mori Shu Chikamatsu Monzaemon pp 12 15 a b Introduction Four Major Plays of Chikamatsu p 3 a b Saltzman Li Katherine 2002 Review of Chikamatsu Five Late Plays Asian Theatre Journal 19 2 358 ISSN 0742 5457 via JSTOR The Encyclopaedia Britannica states that he moved in 1705 from Kyoto to Osaka to be nearer to Gidayu s puppet theatre the Takemoto za Chikamatsu remained a staff playwright for this theatre until his death although Keene states he moved in 1706 Introduction Four Major Plays of Chikamatsu pp 4 6 Classe O 2000 Encyclopedia of Literary Translation Into English A L Taylor amp Francis p 275 ISBN 9781884964367 Kanemitsu Janice Shizue Guts and Tears Kinpira Jōruri and Its Textual Transformations PDF University of Colorado Boulder Shirane 2002 p 283 Shirane 2002 p 242 Chickamatsu Monzaemon washburn edu Retrieved 2019 07 12 Shirane 2002 p 260 Sasaguchi Rei 2002 02 20 Master of life s joys and sorrows The Japan Times Retrieved 2019 07 12 Shirane 2002 p 313 Gassner John Quinn Edward 2002 01 01 The Reader s Encyclopedia of World Drama Courier Corporation p 125 ISBN 9780486420646 Chikamatsu Monzaemon 1990 Major Plays of Chikamatsu Columbia University Press p 425 ISBN 9780231074155 a b c Nichols 2010 p 42 Kirkwood Kenneth P 2012 08 21 Renaissance in Japan A Cultural Survey of the Seventeenth Century Tuttle Publishing ISBN 9781462912094 Shirane 2002 p 241 Keene 1999 p 263 Kanazawa Shizue Kobayashi Tadashi Yoshikawa Itsuji Hōgetsu Keigo Sakamato Tarō Iwao Seiichi 1975 47 Chikamatsu Monzaemon 1653 1724 Dictionnaire Historique du Japon 3 1 33 35 Keene 1999 p 251 Walthall Anne 2002 Review of Chikamatsu Five Late Plays Monumenta Nipponica 57 2 247 ISSN 0027 0741 via JSTOR Shirane 2002 p 301 KUBO Mayako Osan from Shinju Ten no Amejima www nntt jac go jp Retrieved 2020 11 08 Sources EditKeene Donald 1999 World Within Walls Japanese Literature of the Pre modern Era 1600 1867 Volume 1 Columbia University Press ISBN 0231114672 Nichols Robert 2010 Masterpieces of Chikamatsu Routledge ISBN 978 1136913433 Shirane Haruo ed 2002 Early Modern Japanese Literature An Anthology 1600 1900 Columbia University Press ISBN 0231507437 Further reading EditCircles of Fantasy Convention in the Plays of Chikamatsu by C Andrew Gerstle 1986 a critical study of Chikamatsu s plays External links Edit Chapter 4 Renaissance CHIKAMATSU MONZAEMON 1653 1725 Four Major Plays of Chikamatsu English translation of The Tethered Steed translated by Asataro Miyamori and revised by Robert Nichols Audio book read in Japanese Retrieved from https en wikipedia org w index php title Chikamatsu Monzaemon amp oldid 1152245416, wikipedia, wiki, book, books, library,

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