Ise Ondo Koi no Netaba

• Genre: Sewamono
• Premiere: 1796/7/25, Kado no Shibai, Osaka
• Writers: Chikamatsu Tokuzô, Tatsuoka Mansaku, Namiki Shôzô II
• Japanese: 伊勢音頭恋の寝刃 (Ise Ondo Koi no Netaba)

Ise Ondo Koi no Netaba is a kabuki sewamono play by Chikamatsu Tokuzô, Tatsuoka Mansaku, and Namiki Shôzô II, which debuted on 1796/7/25 at the Kado no Shibai in Osaka. The title roughly translates as "The Ise Dances and Love's Dull Blade", though it has been given the English titles "The Quest of Shimosaka" and "The Vengeful Sword" as well.

The play takes place primarily at the Aburaya, a house of assignation in the town of Furuichi near Ise Shrine, and features a cursed Shimosaka sword which, once it is drawn, must taste blood. The hero, Mitsugi, aids Manjirô, in searching for his family's heirloom Shimosaka sword, and eventually finds it at the Aburaya, which they both frequent. Through the machinations of the teahouse's proprietess or chief maid, Mannô, Mitsugi finds himself dumped by his lover, Okon. Taunted by Mannô to strike her with his scabbard to express his anger with her, he does so, but the scabbard splits, and the sword cuts the woman's neck; the curse is never explicitly discussed at all in the play, but Mitsugi is possessed by it, and goes on a killing spree, killing nearly everyone in the brothel.

Ise Ondo is a summer play, both set during the summer and traditionally performed during the summer, when it is believed the chills the audience feels at the horror of the bloodbath will cool them off. Most of the characters wear summer yukata, and visual and verbal references are made to the summer heat.

Like many sewamono, the play is based on a real incident, in this case a mass murder which occurred near Ise that same year. A local doctor by the name of Magofuku Itsuki, went on a drunken killing spree in the Aburaya, a local Furuichi brothel; among those killed was a maid by the name of Oman (note that the chief maid or proprietess of the Aburaya in the play is named Mannô). Itsuki committed suicide two days later at the home of his uncle, a low-ranking Ise Shrine priest.

Though Ise Ondo is said to have been written in three days, making it an ichiyazuke or "pickled overnight" play, it in fact debuted roughly two and a half months after the incident, and after a local rural theatre in Matsuzaka had already begun showing a play based on the event.

The debut performance was produced by Kado no Shibai zamoto Fujikawa Hachizô III, and featured Nakayama Bunshichi II, Yoshizawa Iroha I, and Nakayama Bungorô I in the lead roles of, respectively, the samurai Mitsugi and the courtesans Okon and Mannô.

In a reverse from the more common situation of kabuki plays being based on those from the puppet theatre, a ningyô jôruri version of Ise Ondo first debuted in 1838.

Today, the Aburaya and Inner Courtyard/Garden scenes of Act III are most often performed, with the Futami-ga-Ura scene from Act I being quite common as well. Act IV is no longer performed at all, and so the ending of Act III has been modified to serve as the ending of the play. In addition, two styles or traditions of performing Ise Ondo have emerged, one in Kamigata, established by Ichikawa Danzô V, and a different style or tradition in Edo, tracing back to Onoe Kikugorô III.

Characters

• Manjirô - a low-ranking Ise Shrine priest, who has lost the sword and is seeking it (nimaime)
• Mitsugi - a samurai in the service of Manjirô's father (pintokona)
• Okon - a courtesan; Mitsugi's lover
• Okishi - a courtesan; Manjirô's lover
• Oshika - a homely courtesan
• Mannô - the conniving proprietess at the Aburaya
• Sennô - a courtesan
• Kisuke - the head cook at the Aburaya, who is loyal to Mitsugi
• Rinpei - a yakko (footman) in the service of Mitsugi
• Daizô and Jôshirô - two men in the service of Tokushima no Iwaji, seeking to keep the sword from Manjirô
• Tokushima no Iwaji and Aidamaya Kitaroku - two men from Awa no kuni, who have stolen the sword

Plot

Act I

Scene One: The Chase

The play opens on a country road, where Daizô and Jôshirô provide exposition, describing their plot to trick Manjirô into pawning the heirloom Aoi-Shimosaka sword, and getting disowned for losing it, so that their master can take control of Awa. They reveal that Tokushima no Iwaji has the certificate of authenticity for the sword, and Jôshirô gives Daizô a letter to deliver to Iwaji.

Rinpei, a footman in the service of Manjirô, sneaks up on the pair and overhears everything. He tries to grab the letter, but it drops to the ground, and in the course of an elaborate chase scene, Daizô makes off with the letter, with Jôshirô close behind; the curtain closes as Rinpei chases after the pair.

Scene Three: Futami-ga-ura

The next scene takes place at Futami Bay, a site famous throughout Japan for the wedded rocks in the bay, tied together by large ropes. This is one of the more frequently performed scenes from this play.

It opens with Mitsugi and Manjirô entering along the hanamichi at night, Mitsugi holding a lantern and leading Manjirô carefully along the dark road as they discuss their search for the sword. Reaching shichisan, Mitsugi briefly introduces himself, and then the couple enter the stage proper. Jôshirô runs on, bumping into Manjirô, and then running off; Manjirô explains to Mitsugi that Jôshirô was the one who took the Shimosaka sword from him, to pawn it for him. Rinpei then enters, and gives Manjirô half of the letter, which has apparently been torn, before continuing off after Jôshirô, seeking to obtain the other half.

Manjirô reads the half of the letter he has - it describes the basics of the plot, but does not mention any names. Just then, Rinpei returns, restraining Jôshirô with both hands, and holding the remaining half of the letter in his mouth. Mitsugi takes it and passes it to Manjirô, holding up the lantern, but before Manjirô can read the remainder of the letter, Daizô sneaks up behind them, knocking the lantern to the ground, dropping all the characters into darkness, and marking the beginning of a long danmari sequence.

While the characters onstage are perfectly visible to the audience, within the context of the play, it is all but pitch black. The characters grope around in the dark, with Daizô and Jôshirô seeking to attack Mitsugi, Manjirô and Rinpei, and to get the letter back, while Mitsugi and Rinpei try to protect Manjirô. They cut mie several times in the course of the sequence. Eventually, Mitsugi grabs two figures in the dark, and calls out for Manjirô and Rinpei. Determining that Manjirô is safely with Rinpei, and that he is holding Daizô and Jôshirô, he calls for Rinpei to take Manjirô away, and then continues to fight Daizô and Jôshirô in the dark, deftly avoiding their attacks, and eventually throwing them to the ground. He sits atop them just as the sun rises, allowing him to read the letter, which he then dangles just out of Daizô's reach, establishing a set group pose as the curtain closes.

Act II

Act Two is rarely, if ever, performed today. [I have been unable to find a plot summary of this Act.]

Act III

Scene One: Aburaya

The Aburaya scene, among the most frequently performed scenes from the play, is among the most popular and famous examples in kabuki of an enkiri scene, in which two lovers cut off (kiri) their relationship (en).

It takes place at the Aburaya teahouse, and opens with Kitaroku, a merchant in league with Tokushima no Iwaji, arriving back at the teahouse from enjoying a kabuki performance. He heads into the back room (not visible on stage) to join Iwaji's party, which is already ongoing.

Manjirô enters at the end of the hanamichi, explaining aloud that it has been several days since he saw Mitsugi, and has no idea where the sword or the letter are, so he has come here to visit his lover, Okishi, in the hopes that she might know something, or that a lead might otherwise come up.

Scene Two: Okuniwa

Today, Act IV is not performed either in kabuki or bunraku, and Act III has been altered to make it the ending of the play. Following the bloodbath, Mitsugi, Manjirô, and Okon pose, successful at having obtained the sword, and the curtain closes, leaving quite unclear the moral or practical consequences of Mitsugi's rampage.

Act IV

In this rarely performed scene, after Iwaji flees from the Aburaya, Mitsugi flees as well, in a rainstorm, to his aunt's house. He remains unaware that the sword he is holding, with which he killed so many, is the Shimosaka blade he has been searching for. Manjirô arrives, asking after the sword, and Mitsugi, apologizing for his failure to obtain the blade, stabs himself. Kisuke then arrives, and explains how he switched the swords, and that the one Mitsugi has here is in fact the Shimosaka.

Iwaji then arrives, and attempts to steal the sword, but is killed by Mitsugi. His wounds are determined not to be fatal, and the play ends on a happy note, with Manjirô and Mitsugi alive and successful in obtaining the sword, though the fate of Okon remains unclear.

References

• Ise Ondo at Kabuki21.com. Accessed 20 November 2010.
• Jones, Stanleigh H. "The Ise Dances and Love's Dull Blade." in Brandon, James and Samuel Leiter (eds.) Kabuki Plays on Stage: Villainy and Vengeance, 1773-1799. Honolulu: University of Hawaii Press, 2002. pp318-350.