Nureki Chimuo Archive

As always, I write the script for this “Talking Theater” by hand, penning every single character myself, and then R-san types it up on a word processor and carefully posts it on the website.

From the very first installment to this 183rd one, she has continued to type it up faithfully and tirelessly.

(I’m amazed she never got bored with all those words and kept at it without fail. I’d like to express my gratitude once again.)

In other words, the first person to read this manuscript is R-san.

She corrects typos, missing characters, and other errors, and even checks for any questionable parts in the content of the text, bringing them to my attention.

To me, she is the best reader there is.

Even after I sent the manuscript for the previous installment (No. 182) by fax, I immediately received an inquiry from R-san.

“...In your manuscript, the name of the land where Kitsune Kuzunoha was born and raised is written as ‘Shita no Mori’ in one place and ‘Shida no Mori’ in another. What is the reason for this?”

“Huh?”

Carelessly, even though I wrote it myself, I hadn’t noticed that.

信太 and 信田 are both pronounced “Shinoda.” As this section deals with a discussion over the proper kanji for this word, I’ll annotate the proper writing in each instance. 3

In my mind, whenever I think of “Kuzunoha,” it has always been “Shinoda (信太) no Mori” for as long as I can remember. That’s just the way it is.

Yet, why did I write “Shinoda (信田) no Mori?”

I looked into it and found out.

In the script for “Ashiya Doman Ouchi no Kagami,” published in Volume 3 of the “Masterpieces of Kabuki” series by Tokyo Sogensha, specifically in the “Marumoto Jidai-mono Collection II,” the location is consistently listed as “Shinoda (信田) no Mori.”

Because I transcribed it exactly as it was, only the Joruri portion ended up as “Shinoda (信田).”

The commentary on this play is by Koji Toita-san. In his commentary, Toita-san refers to the ancient Joruri version as “Shinoda (信太) no Mori,” but in his commentary on the Kabuki play “Kuzunoha,” he follows the script and uses “Shinoda (信田) no Mori.”

That is truly a thoughtful touch.

In comparison (though it’s wrong to compare), how sloppy I have been.

In my heart, I bowed my head to Toita Sensei, who is now in the afterlife.

him.

I once met Toita Sensei in the lobby of the Kabuki-za and exchanged a few words with

He is also a Naoki Prize-winning author.

I was an avid reader of “Nakamura Gagaku’s Mystery Notebook4.”

Speaking of Nakamura Gagaku, the character is modeled after the late Nakamura Matagoro. Matador played the role of Gagaku.

The previous Nakamura Kansaburo, who played Gagaku after him, was also excellent, with a truly understated presence.

Both of the actors who portrayed Nakamura Gagaku, the kind-hearted, gentle master detective of the Kabuki-za, are no longer with us.

A wave of emotion wells up inside me.

I got sidetracked.

4

Nakamura Gagaku’s Mystery Notebook is a series of mystery novels written by Koji Toita.

According to the Iwami Japanese Dictionary, “Shinoda (信太)-zushi” (Shinoda sushi). Inari sushi. The name derives from a legend that a white fox lived in Shinoda (信太) Forest in Senshu (now southern Osaka Prefecture), and the fact that foxes are said to love fried tofu pouches.

The Obunsha Japanese Dictionary also notes, “Shinoda (信田)-zushi” (Shinoda sushi). Inari sushi. Named after a legend about foxes in the Shinoda (信太) Forest of Izumi Province (southern Osaka Prefecture).”

“Shinoda (信田)-maki” (Shinoda roll). A dish made by stuffing fried tofu pouches with seafood, vegetables, and meat and then simmering them.”

It states this, and this entry does not use the term “Shinoda (信太).”

Minoru Koizuka has written a comprehensive and in-depth book titled “Fox Tales” (published in 1982 by Sanichi Shobo), which extensively researches Japanese fox legends. In the section titled “The Fox of Shinoda (信太): The Grudge of the Kuzu Leaf” within that book, all the place names mentioned were written as “Shinoda (信太).”

Furthermore, the legend of “Shinoda (信太)-tsuma” is described in great detail.

Toward the end of this book, there is a section titled “The Fox Palindrome.”

A palindrome is a phrase that reads the same backward as forward. It is a kind of wordplay.

Even the short phrase “kitsune-tsuki5” (possessed by a fox) is already a palindrome.

It is interesting that many palindromes related to foxes are introduced. Among them, “The fox cub of Shinoda (信太), the joy of my beloved child falling asleep” is one such example. It reads the same from the bottom up.

Continuing from last time, Hiromi Saotome’s performance of “Kitsune Kuzunoha” was wonderful. It was both beautiful and charming, yet at its core, it possessed the fierce intensity of a demon beast.

It captivated the hearts of the packed audience.

Dressed in white and portraying a white fox, Saotome moved about on her tiptoes, lightly hopping as she walked. In Kabuki, this is called “fox-foot.”

5

In English, this is obviously not a palindrome. But in hiragana, きつねつき is a palindrome.

Her hands are held with the fingers together and slightly bent, the backs of her hands facing down, and at times, her palms facing up to create expressions. In kabuki, this is called “fox hands.”

Saotome’s fox darted from one corner of the stage to another, twisting her slender body violently to express the sorrow of parting from her child.

To my eyes, that image suddenly overlapped with the memory of Ennosuke in his prime.

How many times have I watched, thrilled and entranced, as Ennosuke’s Fox Tadanobu in the “Shinokiri” scene leapt lightly, ran, and finally danced while soaring high through the air?

It wasn’t just twenty or thirty times. I saw it far more than that. There was a time when I went to the third-floor seats at Mejiza every day.

Before its renovation, the third-floor seats at Mejiza had exposed, dirty concrete stairs for some reason, giving them a shabby look. They felt very much like the general admission section.

When I see Ennosuke in his wheelchair now, a wind of impermanence whistles through my chest. It feels as though even my own limbs are growing cold.

Even if Kamijiro were to succeed Ennosuke and present a more youthful, nimble Fox Tadanobu, I would never forget the current Ennosuke’s stage presence.