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Banchō Sarayashiki

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Banchō Sarayashiki Banchō Sarayashiki Daihachi and Okiku. A one-act Kabuki version was created in 1850 by Segawa Joko III, under the title Minoriyoshi Kogane no Kikuzuki, which debuted at the Nakamura-za theater and starred Ichikawa Danjūrō VIII and Ichikawa Kodanji IV in the roles of Tetsuzan and Okiku. This one-act adaptation was not popular, and quickly folded, until it was revived in June 1971 at the Shinbashi Enbujō theater, starring the popular combination of Kataoka Takao and Bando Tamasaburō V in the roles of Tetsuzan and Okiku. The most familiar and popular adaptation of Banchō Sarayashiki, written by Okamoto Kido, debuted in Febru- ary 1916 at the Hongō-za theater, starring Ichikawa Sadanji II and Ichikawa Shōchō II in the roles of Lord Harima and Okiku. It was a modern version of the clas- sic ghost story in which the horror tale was replaced by a deep psychological study of the two characters' motiva- tions. Another adaptation was made in 2002, in Story 4 of the Japanese television drama Kaidan Hyaku Shosetsu.*[1] 2 Plot summary Tsukioka Yoshitoshi's portrait of Okiku. 2.1 Folk version Banchō Sarayashiki or Bancho Sarayashi (番町⽫屋 Once there was a beautiful servant named Okiku. She 敷 The Dish Mansion at Banchō) is a Japanese ghost story worked for the samurai Aoyama Tessan. Okiku often re- (kaidan) of broken trust and broken promises, leading to fused his amorous advances, so he tricked her into be- a dismal fate. lieving that she had carelessly lost one of the family's ten precious delft plates. Such a crime would normally result The story of Okiku and the Nine Plates is one of the most in her death. In a frenzy, she counted and recounted the famous in Japanese folklore, and continues to resonate nine plates many times. However, she could not find the with audiences today. tenth and went to Aoyama in guilty tears. The samurai offered to overlook the matter if she finally became his lover, but again she refused. Enraged, Aoyama threw her 1 History down a well to her death. It is said that Okiku became a vengeful spirit (Onryō) The story of Okiku is an old one, whose true origins are who tormented her murderer by counting to nine and then unknown; however, it first appeared under the title Ban- making a terrible shriek to represent the missing tenth cho Sarayashiki in July 1741 at the Toyotakeza theater. plate – or perhaps she had tormented herself and was The familiar ghost legend had been adapted into a ningyō still trying to find the tenth plate but cried out in agony jōruri production by Asada Iccho and Tamenaga Tarobei when she never could. In some versions of the story, this I. Like many successful puppet shows, a Kabuki version torment continued until an exorcist or neighbor shouted followed and in September 1824, Banchō Sarayashiki was “ten”in a loud voice at the end of her count. Her ghost, staged at the Naka no Shibai theater starring Otani To- finally relieved that someone had found the plate for her, moemon II and Arashi Koroku IV in the roles of Aoyama haunted the samurai no more. 1 2 3 OKIKU AND UKIYO-E 2.2 Ningyō Jōruri version Hosokawa Katsumoto, the lord of Himeji Castle, has fallen seriously ill. Katsumoto's heir, Tomonosuke, plans to give a set of 10 precious plates to the Shogun to ensure his succession. However, chief retainer Asayama Tet- suzan plots to take over. Tomonosuke's retainer, Funase Sampei Taketsune is engaged to marry a lady in waiting, Okiku. Tetsuzan plans to force Okiku to help him murder Tomonosuke. Tetsuzan, through the help of a spy, steals one of the 10 plates and summons Okiku to bring the box containing the plates to his chamber. There, he attempts to seduce Okiku. She refuses due to her love for Taketsune. Re- jected, Tetsuzan then has Okiku count the plates to find only nine. He blames her for the theft and offers to lie for her if she will be his mistress. Okiku again refuses and Tetsuzan has her beaten with a wooden sword. Tetsuzan then has her suspended over a well and, eroti- cally enjoying her torture, has her lowered into the well several times, beating her himself when she is raised. He demands that she become his lover and assist in the mur- der of Tomonosuke. She refuses again, whereupon Tet- suzan strikes her with his sword, sending her body into the well. An ukiyo-e print by Hokusai depicting Okiku While wiping clean his sword, the sound of a voice count- ing plates comes from the well. Tetsuzan realizes that it 2.3.1 Romantic influence is the ghost of Okiku but is entirely unmoved. The play ends with the ghost of Okiku rising from the well, Tet- Okamoto's version is notable for being a much more ro- suzan staring at her contemptuously. mantic adaptation of the story, similar to the Kabuki ver- sion of Botan Doro. This was an influence of the Meiji Restoration, which brought Western plays to Japan for the first time. Western plays were much more noticeable 2.3 Okamoto Kido version for romantic elements, and this was adapted into a style of theater known as Shin Kabuki. Shin Kabuki was ulti- In 1655, in Edo, a vassal of the Shogun Aoyama Harima mately an unsuccessful merger of East and West, although has fallen in love with a young servant girl Okiku. Okamoto's Bancho Sarayashiki remains as one of the few Aoyama has promised to marry her, but has recently re- classics. ceived an auspicious marriage proposal from an Aunt. Aoyama promises Okiku that he will honor their love, and refuse the proposal. 3 Okiku and Ukiyo-e Okiku doubts, and tests him by breaking one of the 10 heirloom plates that are the treasure of the Aoyama Like many Kabuki plays, Okiku was a popular subject household. The traditional punishment for breaking one matter for ukiyo-e artists. In 1830, Katsushika Hoku- of the plates is death, which is demanded by Aoyama's sai included her as one of the kaidan in his One Hundred family. Tales (Hyaku monogatari) series. Ekin, a somewhat no- At first, Aoyama is convinced that Okiku broke the plate torious artist who had troubles with the law, painted a by accident, and pardons her, but when Okiku reveals that Byobu-e *[note 1] of Okiku being accused by Tetsuzan she broke the plate as a love-test, Aoyama is enraged and Aoyama and his brother Chuta. kills her. He then throws her body down a well. Most notably, she appeared as one of the New Forms of From then after, Okikuʼs ghost is seen to enter the house Thirty-Six Ghosts by Tsukioka Yoshitoshi. His portrayal and count the plates, one through nine. Encountering her of Okiku is unusually sympathetic, particularly as ghosts in the garden, Aoyama sees that her ghostly face is not were viewed as fearsome apparitions by nineteenth- one of vengeance, but beauty and calm. Taking strength century Japanese, reflecting a general trend in his later from this, he commits seppuku and joins her in death. work. 3 4 Influences on Japanese culture • Iwasaka, Michiko, Ghosts and the Japanese: Cul- tural Experience in Japanese Death Legends, USA, In 1795, old wells in Japan suffered from an infestation of Utah State University Press 1994, ISBN 0-87421- a type of worm that became known as the “Okiku bug” 179-4 (Okiku mushi). This worm, covered with thin threads • Ross, Catrien, Supernatural and Mysterious Japan, making it look as though it had been bound, was widely Tokyo, Japan,Tuttle Publishing, 1996, ISBN 4- believed to be a reincarnation of Okiku. The Ningyo 900737-37-2 Joruri version is set in Himeji Castle, a popular tourist attraction at the castle is Okiku-Ido, or Okiku's Well. • “Banchô Sarayashiki”. Kabuki21. Retrieved July Traditionally, this is where the hapless maid's body was 14, 2006. thrown after being killed by Tetsuzan. Although the cas- • tle is closed at night, it is said that her ghost still rises “Okiku”. Asian Horror Encyclopedia. Retrieved nightly from the well, and counts to nine before shrieking July 18, 2006. and returning. Manga artist Rumiko Takahashi included a parody of the legend of Okiku in her romantic comedy Maison Ikkoku. As part of an Obon event, the residents of 8 External links Ikkoku-kan take part in a summer festival; Kyoko dresses up as Okiku and is supposed to hide in a shallow well.*[2] • Kaidan Bancho sara yashiki (1957) at the Internet Movie Database • Bancho sara yashiki: okiku to harima (1954) at the 5 See also Internet Movie Database • Botan Dōrō • Kaidan Hyaku Shosetsu (Story 4) (2002) at JDorama • Yotsuya Kaidan • Original version of the story • Kaidan • Onryō • Obake • Yūrei • Japanese mythology • Japanese horror 6 Notes [1] Pictures on paper folding screens. 7 References [1] (Japanese) Kaidan Hyaku Shosetsu [怪談百物語] :: jdo- rama.com [2]“Ido no naka”in Takahashi Rumiko, 1984, Mezon Ikkoku, vol. 6, Tokyo: Shogakukan, pp. 165–184. • Addiss, Steven, Japanese Ghosts and Demons, USA, GeorgeBraziller, Inc., 1986, ISBN 0-8076-1126-3 • Brazell, Karen, Traditional Japanese Theater: An Anthology of Plays, USA, Columbia University Press, 1998 4 9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 9 Text and image sources, contributors, and licenses 9.1 Text • Banchō Sarayashiki Source: https://en.wikipedia.org/wiki/Banch%C5%8D_Sarayashiki?oldid=713063176 Contributors: Scott, Reiny- day, Grenavitar, LordAmeth, Marudubshinki, Melesse, Rjwilmsi, Chobot, MightyAtom, Julian Grybowski, Robaato, Asarelah, N. Har- monik, Black-Velvet, Jsnx, SmackBot, Nihonjoe, Kintetsubuffalo, Kevinalewis, Chris the speller, Bluebot, Sadads, Curly Turkey, TheFarix, CmdrObot, Elyu, Cydebot, Treybien, Alphachimpbot, D.h, Brittany Ka, TomorrowTime, STBotD, Cnilep, Squalk25, Azukimonaka, Alle- borgoBot, K.h.w.m, Android Mouse Bot 3, Randy
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