The playwright Chikamatsu Monzaemon was one of several literary giants who appeared simultaneously on the Japanese scene during the early half of the Tokugawa period (1600-1867). He wrote the books (called jruri) for puppet theater, which came into its own in Osaka because of the happy appearance of Chikamatsu, a great chanter (Takemoto Giday), a talented samisen accompanist (Takezawa Gon’emon) who put Chikamatsu’s words to music, and a superb puppeteer (Tatsumatsu Hachirobei) who boldly appeared on the stage with his puppets and yet, through sheer artistry, made the audience forget his physical presence in the movements of the puppets he manipulated. Chikamatsu also wrote for the Kabuki theater then centered in Kyoto and Edo (now Tokyo).
Chikamatsu’s dramatic works fall into two classes, according to the subject matter treated: the historical and the domestic, the latter dealing with contemporary events and with people chiefly of the merchant, or common, class. The Love Suicides at Sonezaki was the first of the domestic plays written by Chikamatsu. He was fifty years old at the time. First staged in Osaka in 1703, it is a dramatization, with additions, of events that actually occurred in Osaka earlier that same year. Originally written for the puppet theater, it was soon presented on the Kabuki stage as well. The play remains popular.
Although Chikamatsu has been called the most Western of the great Japanese dramatists, two obstacles—one cultural, the other artistic—confront the Western reader who attempts to understand and appreciate Chikamatsu’s dramas. The cultural gulf that separates the present-day Western reader from the eighteenth century Japanese characters...
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