Chikamatsu Monzaemon
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Chikamatsu Monzaemon (近松 門左衛門, real name Sugimori Nobumori 杉森信盛, 1653 - January 6, 1724) 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. Chikamatsu is known as the Japanese Shakespeare, for his assortment of plays staged by puppets in the early era of bunraku stage plays. He wrote mainly for theaters in Kyoto or Osaka.
Chikamatsu was born in a samurai family. It is disputable where he was born. The most supported theory says he was born in Echizen province, but there are other candidates for his birthplace including Hagi, Natago province. His father, Sugimori Nobuyoshi served the daimyo Matsudaira in Echizen as a medical doctor. Chikamatsu's younger brother became a medical doctor. Chikamatsu himself wrote a book for caring health.
In those days, doctors who served daimyos held samurai status. But his father lost his office and became a ronin. Chikamatsu moved to Kyoto with his father. For some years, it is unknown what they did. In 1603 his play on Soga brothers was performed in Kyoto and Chikamatsu became known as a playwright.
Love Suicide at Amijima
Love Suicide at Amijima, is one of Chikamatsu's most famous works. Many believe the tale is based on truth. Similar to Shakespeare's Romeo and Juliet, it is about two lovers who can not be together because of social and political situations, and so blinded by love they commit the gravest act, suicide. The play deals with turbulent and intense emotions. "Neither kind advice nor reason can gain the ear of one possessed by the God of Death. . ."
Yet, it also has the humor, that is always greatly appreciated in plays such as William Shakespeare. Love Suicide at Amijima can go from darkly brooding to light fanfare in an immediate instant. Chikamatsu uses very coarse humor and song, in order to entertain the audiences. "Jihei is worthless as wastepaper, Which is not good enough, Even to blow the nose with. Namaida! Namaida! Namaida!"
It is a typical three act play. But unlike Shakespeare, Chikamatsu emphasizes the insanity of the amorous pair, Jihei and Kohauru. He does so by making many of the supporting characters overtly rational and commonly berating the mental capacity of the lovers, which is another way of comic relief.
The play, both beautiful and tragic, ends with Koharu ending Jihei’s life by his sword. Soon after Koharu takes his own life by hanging. One of the best lines in the play is one of the last few words shared between the lovers, “Let us leave, no trace of tears upon our dead faces.”
The play is filled with all the complexities of heart and soul, humor, and action, that are in today’s Japanese Animation. His classic style of storytelling lives on today. The themes within Love Suicide at Amijima, are the type that have a lasting effect on whoever views or hears of them.
Love Suicide at Amijima is perhaps more tragic than Romeo and Juliet, because their lives were already quite bad to begin with. They are both poor and indebted to others. People in Japan could probably easily relate to the issues that plagued the protagonist. Koharu needed to focus his energy on something other than his meager life and weak family bonds, so he places himself within the outskirts of town.
The play was first staged during the Seventeenth-Century Boom, where many famines killed thousands, infanticide was being practiced with overwhelming numbers, and living costs were rising. Many people during this time could relate to Koharu’s need for more in his life, his business failures, and his fascination with the beautiful Jihei.
Major Works
Jōruri
- Shusse Kagekiyo 出世景清 (1785)
- Sonezaki Shinju 曾根崎心中 (1703)
- Meido no Hikyaku 冥土の飛脚 (1711)
- Kokusenya Kassen 国性爺合戦 (1715)
- Shinjū Ten no Amijima 心中天網島 (1720)
- Onnagoroshi Abura no Jigoku 女殺油地獄 (1721)
Kabuki
- Keisei Hotoke no Hara けいせい仏の原 (1699)