明治大学教養論集　通巻284号

（1996・3）　pp，31－51

　　　AVOIDING　THE　TRAP　AND　SETTING

　　　　　　IT　FOR　OTHERS：THE　WORK　OF

INTERPRETATION　AND　PERFORMANCE

　　　IN　THE　TRANSLATION　OF　RA」KUGO：

　　　JAPAN’S　POPULAR　NARRATIVE　ART

James　R．　Bowers

　　　　　　　　　　　　　　　　　　　　　　　Introduction

　The　oral　performance　of　narratives　has　a　long　tradition　in　Japan，　and　even

today　continues　to　be　an　important　art　and　entertainment　fo㎜．　Critic　Misu－

mi　Haruo（1）θ彫o％Gθ加云s％πo．Kai，1977）categorizes　oral　performances　into

four　major　traditions　by　form：primarily　oral，　accompanying　dance　and　panto－

mime，　accompanying　folk　tales　and　folk　dance，　accompanying　music　on　vari－

ous　instnlments．　The且rst　of　these　four　categories　is　called　sugatari　mono，

narratives　without　music．　It　includes　such　genre　as　monogatari　oracles　and

spiritualistic　speaking　through　mediums，々o％sぬ弼（Buddhist　chants），々yo跡

en　leoushaku（oral　explanation　of　Buddhist　sutras），sεん妙o彿（preaching），etolei

（explanation　of　illustrations　and　paintings，　especially　the　Mandala），yongoto

hのla〃tonogとztari　tou　　（chanting　　and　　reciting　　rapidly，　etc．），　densetsu，

muleashibanashi（legends　and　folk　tales），α短yoπ86％（classical　comic　inter－

ludes　for　the　1＞b乃drama），々o麗4伽（historical　narratives），rakugo（comic　sto一

32　明治大学教養論集　通巻284号（1996・3）

ry　telling），mαndan（comic　chats　and　satire），leami－shibai　and　utsushi－e（nar－

ration　with　poster　plays　and　lantern　slides　or　silent　movies），and　monouri

leo勿fou（stories　accompanying　sales　pitches）．This　paper　will　brie且y　describe

rakugo，　Japan’s　classical　comic　narrative，　and　then　use　a　hermeneutic　analy－

sis　gf　a　portion　of　the　rakugo　story，　Bunshichi　Mottoi（Bunshichi’s　Hair

Salon），to　examine　two　translations　of　that　story　for　linguistic　and　structural

elements　that　contribute　to　its　performance．

Rakugo

　　As　noted　above，　raleugo　is　a　form　of　sugatari　mono，　It　is　best　described　as‘‘a

form　of　comic　monologue　in　which　a　storyteller（raleugo一肋）creates　an　imagi－

nary　drama　through　episodic　narration　and　skillful　use　of　vocal　and　facial　ex－

pression　to　portray　various　characters．”（McCarthy，1983，278）．　The

storyteller，　dressed　in　kimono，　kneels　on　a　cushion　placed　on　a　narrow　raised

stage．　The　only　accessories　are　a　folding　fan　and　a　small　towel，　which　the　per－

former　uses　with　great　facility　to　simulate　a　number　of　props．　One　of　the　dis－

tinguishing　characteristics　of　a　high－ranking　or　successful　performer　in　this

genre，　is　his（almost　all　the　professionals　are　male）inventive　use　of　these

two　tools　of　his　trade．　The　raleugo－kα’s　speech，　for　the　most　part，　is　very　natur－

al，　bllt　the　rhythmic　delivery　of　kotei（五xed，　classical）stories　is　evaluated

highly．　Raleugo　stories　are　quite　lengthy，且fteen　to　thirty　minutes，　and　some－

what　like　the　British‘ whaggy　dog’story．　That　is，　the　telling　and　embellishing

of　the　tale　is　a　major　source　of　humor　that　often　equals　the　punch　line．　In　the

shaggy　dog　story，　the　punch　line　is　frequently　anticlimactic，　a　let　down．　In

raleugo　it　is　the　raison　d　’e　tre　for　the　genre，　and，　indeed，　gives　the　genre　its

name．　Raku　in　Japanese　means‘fall’or　in　its　nuance　here，‘trap’．　Another

AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS 33

reading　for　the　character　is　ochi．1～afeugo　can　be　literally　interpreted　as‘trap

story．’There　are　numerous　kinds　of　ochi　as　we　will　point　out　shortly．

　　Raleugo　stories　are　scripted　beforehand．　They　are　then　memorized　and

presented　verbatim．　Only　a　master，　con且dent　of　his　skills　and　understanding

of　a　story　and　his　audiences，　will　begin　to　adapt　and　embellish　the　tale　in　his

own　unique　style　of　performance，

　　The　repertory　of　rakugo　consists　of　fixed，　classical　pieces（leotei　rafeugり），

some　of　which　are　hundreds　of　years　old，　and　more　recent　warai－banashi（lit，

funny　stories），on　contemporary　sublects　which　may　have　been　composed　by

the　performer　himself，　or　a　professional　writer　of　such　stories．　Although　con－

vention　requires　that　the　story　be　as　close　to　the　script　as　possible，　the

storyteller　may　introduce，　or　frame，　it　in　any　fashion　he　believes　to　be　ap－

propriate．　Reference　to　current　events，　the　occasion，　the　composition　of　the

audience，　or　th6　storyteller’s　experience　and　personal　life　are　quite　common．

　　1～αkugo　has　its　origins　in　the　sixteenth　century，　but　it　is　not　until　the

nineteenth　century　that　the　current　apPellation　for　this　branch　of　story　tel1－

ing　came　into　common　use．　Today，　raleugりis　the　most　popular　of　the　narra－

tive　arts．、Raleugo　performers　appear　frequently　on　television　and　are　heard

on　radio．　There　are　four　major　yose（vaudeville　houses）in　Tokyo　that　offer

matinee　and　evening　programs　daily　for　runs　of　approximately　one　month．　A

guide　to　entertainment　in　Tokyo　for　the　month　of　August，19891ists且fty－one

locations　at　which　professional　raleugo－lea　were　performing．　There　is　also　one

weekly　television　program　featuring　raleugo　performances．　There　are　two

professional　associations　of　raleugo－々αin　Tokyo　and　another　one　based　in　Osa－

ka。　Their　combined　membership　in　1985　was　3900f　whom　only　two，　in　the

Osaka　association，　were　women．　Many　universities　also　have　rakugo　clubs

whose　members　study　and　practice　raleugo　for　their　own　amusement．　Oc一

34　明治大学教養論集　通巻284号（1996・3）

casionally，　some　members　of　the　university　clubs　may　enter　the　world　of　the

professional　upon　graduation．

　　Training　for　rakugo　has　traditionally　been　very　exacting．　Normally，　a

young　man　who　is　attracted　to　the　profession　petitions　a　master　for　pemmis－

sion　to　become　a　disciple．　lf　he　is　accepted，　usually　only　provisionally，　he　will

go　to　live　with　the　master　and　spend　most　of　his　time　doing　errands　while　he

observes　the　master　and　senior　disciples　in　rehearsal．　Eventllally，　when　the

master　feels　that　enough　time　has　lapsed　for　the　new　disciple　to　have　learned

astory　and　the　basics　of　performance，　he　will　be　allowed　a　tria1．　If　the　perfor－

mance　is　successfu1，　the　disciple　receives　a　promotion　and　perhaps　a　stage

name．　This　process　is　repeated　for　years　or　even　decades　before　the　disciple

becomes　a　master　in　his　own　right．　If　the　results　at　any　stage　are　unsatisfacto－

ry，　the　disciple　may　be　allowed　to　continue　in　his　current　status　until　he　im－

proves，　is　encotiraged　to　quit，　or　perhaps　encouraged　to　move　to　another　posi－

tion　in　the　rakugo　world　such　as　working　on　the　staff　of　one　of　the　raleugo

halls　or　vaudeville　houses．　Some　raleugo－lea，　particlllarly　those　who　have　been

members　of　a　university　club，　may　receive　specific　instruction　in　various

aspects　of　performance　and　interpretation　and　techniques．　However，1earn－

ing　by　observation，　imitation，　and　eventually　insight　is　still　considered　the

only　effective　way　of　becoming　a　master　performer．

Rhetorical　Devices

　　1～aleugo　stories　employ　various　rhetoriCal　devices　to　entertain　and　amuse

an　audience．　The〃mkura　is　the　raleugo　equivalent　of　framing．．Mafeura　means

pillow　in　Japanese．　The　maleura　literally　serves　as　a　cushion　between　the　real

world　and　the　world　of　the　story　to　be　performed．Makura，　as　in　the　selection

　　　　　　　　　　　　　AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　35

to　be　analyzed　in　this　paper，　usually　consist　of　references　to　something　acces－

sible　to　the’common　knowledge　of　the　audience，　something　related　to　the

world　of　the　story，　and　speech　by　the　performer　addressed　directly　to　the　au－

dience．

　　Timing　is　an　essential　tool　of　the　performer．　The　Japanese　term　for　timing

is　ma（literally　space）．There　is　appropriate　timing　in　the　transition　from　one

character　to　another。　There　is　appropriate　timing　for　allowing　an　audience　to

juxtapose　ideas　to　elicit　a　laugh．　There　is　timing　appropriate　to　the　pace　and

rhythm　of　delivery．　And　there　is　timing　that　serves　to　signal　a　transition　from

one　idea　or　division　of　the　story　to　another．　The　skill　that　a　disciple　most

needs　to　learn　through　careful　observation　of　a　master　is　timing．

　　Professional　raconteurs　and　a五cionados　of　the　genre　all　agree　that　ko吻jo　or

spirit　is　also　one　of　the　qualities　that　separate＄the　novice　from　the　acco皿一

plished　performer．　Konjo　implies　patience　and　perseverance　derived　from

personal　suffering　that　allows　the　rakugo－lea　to　develop　empathy　for　his　art，

the　story　he　is　performing，　and　the　audience　for　which　it　is　being　performed。

Afrequent　criticism　voiced　with　regard　to　contemporary　raleugo－々αis　that

they　lack　su缶cientんo勿b．　They　have　never　been　hungry　enough　to　get　inside

the　heart　of　a　story　or　an　audience．

　　One　obvious　element　distinguishing　rakugo　from　many　other　forms　of　oral

narrative　is　the　detailed　portrayal　undertaken　by　the　performers　of　the

characters　who　converse　in　the　story．　The　performer　modi丘es　his　voice　to

suggest　the　age，　sex，　social　status　and　personality　of　each．　This　portrayal　is

reinforced　by　posture　and　facia1　expression．　Each　character　is　maintained　dis－

tinct　from　all　others．　Thus，　as　we　will　demonstrate　in　Bunshichi　Mottoi，　there

is　no　necessity　in　performance　to　provide　the　audience　with　the　names　of　the

characters　continually．

36　明治大学教養論集　通巻284号（1996・3）

　　Of　particular　importance　to　the　entertainment　value　and　humor　of　a　rakugo

story　is　the　tanka．　A　tanlea　is　a　brief　verbal　fight，　in　the　nature　of　a　series　of

put－downs．　It　is　like　the　verbal　repartee　of　Cyrano　de　Bergerac　or　the　playing

the　numbers　of　llrban　American　blacks．　Tanfeα　may　consist　of　deliberate　mis－

understandings，　insults，　arguments，　etc．　They　normally　take　place　between

husbands　and　wives　or　between　individuals　of　the　same　social　status．

However，　it　is　not　unusual　for　a　commoner，　particularly　a　glib　resident　of

Tokyo　or　Osaka，　to　put　down　a　nobleman　or　bureaucratic　samurai，　of　course

without　the　latter’s　realizing　it．　Metaphor　and　hyperbole　also　play　a　role　in

raleugo．　Metaphors　are　frequently　explicitly　sexual　or　degrading．　Hyperbole，

as　in　narratives　from　the　American　west，　is　frequently　employed　to　challenge

arival　or　delude　a　naive　visitor　to　an　unfamiliar　locale．

　　Another　favorite　device　of辮ん〃80　is　the々α4吻，　fluent　and　rapid　delivery　of

lengthy　descriptions　and　explanations．　The　format　is　sometimes　similar　to

the‘begats’of　the　biblica101d　Testament．　A　merchant　for　example　may

describe　the　lineage　of　a　sword　he　is　attempting　to　sell，　or　a　novice　monk　may

be　describing　a　temple　he　has　visited．　One　variant　of　leouiou　is　the　transmissi－

on　of　formulaic　messages　such　as　a　list　of　gifts　being　conveyed　from　one

nobleman　to　another．

The　Ochi

　　Although　rakugo　stories　are　designed　to　keep　an　audience　laughing　from

start　to五11ish，　there三s　always　one　gag，　the　ochi，　that　is　intended　as　the　central

punch　line　of　each　story．　These　ochi　are　of　various　types　and　may　be　used　to

classify　rafeugo　stories．　A　common　type　of　ochi　is　an　elaborate　pun　called

ブiguchi　ochi．　An　example　of　theブiguchi　ochi　can　be　illustrated　with　the　for－

　　　　　　　　　　　　　　　　　　　　　　　．

　　　　　　　　　　　　　AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　　37

mularized　pronunciation　of　the　prayer　of　the　Shingon　Buddhist　sect，　Japan’s

largest．　The　prayer　is‘‘ハ「a〃lu／1〃z磁z．Butsu。”（Praise　be　to　the　Buddha　of

Love．）When　chanted　mechanically　this　sentence　is　reduced　to‘nammaida’．

In　such　reduced　form　the　prayer　becomes　homophonous　with　the　question

‘NaN　mai　da？’（How　many且at　pieces～）‘‘〈raAp’is　a　contraction　of‘nani’

（what）and　the　final　mora　nasal　assimilates　to　the　following　bilabial　nasa1．

‘‘lai”is　a　counter　for　flat　objects　such　as　coins　or　bills．　Thus　in　a　particular

ochi　we　might　have　a　priest　who　is　supposed　to　be　praying　actually　asking　for

abribe，

　　Other　types　of　ochi　are　the　buttsuke　which　revolves　around　a　misunder－

standing，　saleasa　ochi　or　reversals　of　fortune，　hαngae　ochi　or　thought　provok－

ing　ochi（not　very　deep），etc．　One　of　the　most　sophisticated　types　of　ochi　is

the　totan　ochi　which　is　a　foreshadowed　but　completely　unexpected　joke　that

occurs　simultaneously　with　the　climax　of　a　story．　Bunshichi　Mottoi’s　ochi　is　of

the　latter　type．

RakugO　Forms

　　There　are　two　broad　forms　of　raleugo，伽shibanashi　and　n吻゜ou　banashi．

0女）shibanashi　is　another　reading　of　the　same　two　characters　used　for　rak㎎go．

In　otoshibanashi　humor　is　all．　The　whole　focロs　of　the　story　is　the　ochi．躍吻゜o％

banashi　are　concerned　with　human　sentiment．　The　object　is　to　comment　on

or　af丘rm　the　hllman　condition，　and　laughter　is　part　of　that　efR）rt．　In　terms　of

European　comedy　the　otoshibanashi　corresponds　to　low　comedy，　farce，　or

when　it　is　bitter，　to　satire．ハ砺η’o％banashi　corresponds　to　generic　comedy

such　as　the　plays　of　Neil　Simon　or　social　comedy　such　as　the　plays　of　Noel

Coward　and　G．　B．　Shaw．　Bunshichi　M（）畝）ゴis　an　example　of　n吻Fou　bαneshi．

38　明治大学教養論集　通巻284号（1996・3）

Bunshichi　Mottoi

　　Bunshichi　Mottoi（Bunshichi’s　Hair　Salon）is　a　ninjou　bαnαshi　that　deals

with　the　human　sentiment　of　compassion　for　those　Iess　fortunate　than　one－

self．　It　also　deals　with　the　human　foibles　of　the　sandora　bonnou，‘‘the　passion

of　the　three　ways　of　pleasure．”（Morioka　and　Sasaki，1990，160）This　latter

concept　is　a　rahago　reworking　of　the　Buddhist　teaching，　bonnou，　that　hu－

mankind　is　afHicted　with　pains　and　sorrows　by　the　three　poisons，　sandoleu，　of

human　pleasure．　The　three　cardinal　vices　being　referred　to　are　nomu，　drink－

ing，　utsu，　gambling，　and　kau，　whoring．　Bunshichiルfottoi　is　also　an‘origin’sto－

ry　which　purports　to　relate　the　story　of　the　famous　Bunshichi　Hair　Salon　in

Tokyo’s　Kojimachi　district　near　the　Akasaka　Detached　Palace．　Bunshichi　is

the　name　of　a　character　in　the　story，　and　mottoi　refers　to　the　waxed　paper

cords　used　to　tie　up　hairdo’s　of　the　type　still　sported　by　sumo　wrestlers

today．

Rhetorical　Design

　　The　theme　of　Bunshichiル1∂’醜is　that　one’s　actions　rebound　on　oneself．

The　tale　is　divided　into　six　scenes　preceded　by　a　framing　sequence，　the

〃zaleura．　The　action　takes　place　at　four　locations　in　Tokyo　during　the　era

prior　to　the　restoration　of　the　Emperor　when　the　city　was　still　called　Edo　and

was　the　seat　of　government　for　the　Tokugawa　Shoguns．　The　four　locations

are　1）aruma－yofeochou　in　H（）吻り，　an　area　near　the　moat　of　the　present　Imperial

Palace　where　legless　daruma　dolls　were　made　and　sold；Yoshiwara，　the　red－

light　district；the　Azuma－bashi　bridge　near　Yoshiwara，　and　the　home　of　a

　　　　　　　　　　　　　　AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　39

wealthy　merchant，　perhaps　also　in　Honjo．

　　The　characters　are　Chobei，　a　plasterer　who　lives　in　a　slum　apartment，　a

nag4ya，　in　Daruma－yokochou，　his　wife，　and　his　daughter，0－Hisa．　Bunshichi

plays　a　minor　role　in　the　story　in　spite　of　giving　his　name　to　the　title。　He　is　a

clerk　and　distant　relative　in　the　house　of　the　wealthy　tortoise　shell　merchant，

Ohmiya　Uhei．　There　are　two　other　major　characters，　the　Madam　of

Sanozuchi，　a　teahouse　（whorehouse）in　Yoshiwara，　and　her　servant，

Tousuke．　In　addition　there　are　several　other　very　minor　roles：servants　of

Uhei　and　a　sake　dealer．　This　is　an　unusually　large　cast　of　characters　for　a

raleugo　story　since　they　will　all　be　portrayed　by　one　individual．　Thus，　Bun－

shichi　Mottoi　i’s　one　of　the　more　challenging　works　in　the　rafeugo　repertory．

　　An　outline　of　the　full　story　is　as　follows二

　　Maleura：The　performer，　Sanyuutei　Enshou　VI，　comments　on　the　sandora

bonno　focusing　especially　on　the　characteristics　of　the　addicted　gambler．

　　Scene　I：Exposition　and　inciting　incident．　Chobei　returns　home　after　hav－

ing　literally　lost　his　shirt（kimono）at　gambling　to且nd　that　his　daughter，0－

Hisa　has　been　missing　since　the　previous　evening．　Tousuke　arrives　with　a

message　from　the　Madam　of　Sanozuchi　in　Yoshiwara　summoning　Chobei．

He　also　informs　Chobei　that　O－Hisa　is　at　Sanozuchi．　Chobei　promises　to　go　to

Yoshiwara　and　sends　Tousuke　ahead．　He　is　embarrassed　to　have　no　kimono

and　forces　his　wife　to　hand　over　hers，1eaving　her　with　nothing　to　wear．

　　Scene　II：Complication．　At　Sanozuchi，　Chobei　learns　that　his　daughter　has

sold　herself　into　prostitution　to　raise　money　so　that　Chobei　will　cease　his

wicked　ways．　The　kind－hearted　Madam，　who　knows　that　Chobei　is　a　skilled

plasterer，　offers　to　lend　Chobei　the　money　he　needs　to　reform　and　promises

to　take　O－Hisa　under　her　patronage，　provided　that　Chobei　repays　the　loan

within　a　year．

40　明治大学教養論集　通巻284号（1996・3）

　　Scene　III：Complication．　On　his　way　home　from　Yoshiwara，　Chobei　encoun－

ters　a　young　man　about　to　jump　from　the　Azuma－bashi　bridge．　The　young

man　is　Bunshichi．　He　claims　to　have　been　robbed　of　an　amount　of　money

equal　to　that　which　the　Madam　of　Sanozuchi　has　loaned　to　Chobei．　The

money　belonged　to　Ohmiya　Uhei　who　had　dispatched　Bunshichi　to　collect　it

from　a　nobleman　to　whom　it　had　been　loaned．　Bunshichi　feels　he　must　kill

himself　to　atone　for　his　carelessness．　Perceiving　that　Bunshichi’s　need　is

greater　than　his　or　O－Hisa’s，　Chobei　gives　Bunshichi　the　money　he　had

received　from　the　Madam　of　Sanozuchi．

　　Scene　IV：Complication。　Bunshichi　returns　to　Ohmiya’s　mansion　to　dis－

cover　that　the　money　he　had　been　sent　to　redeem　had　not　been　stolen．　He　had

carelessly　forgotten　to　bring　it　with　him　because．he　had　become　engrossed　in

agame　of　Japanese　chess　at　the　ho血e　of　the　nobleman．　The‘lost’money　had

been　sent　to　Ohmiya’s　by　another　courier．　Bunshichi　confesses　his　foolish－

ness　to　Ohmiya　and　relates　the　story　of　Chobei’s　generosity．　Ohmiya　resolves

to　reward　Chobei　for　his　compassion　and　sends　his　servants　out　to　discover

Chobei’s　whereabouts．

　　Scene　V：Denouement．　Chobei　is　located．　Ohmiya　orders　a　barrel　of　sake

bought　for　reward　and　pays　for　O－Hisa’s　release　from　Sanozuchi．

　　Scene　VI；Denouement．　Ohmiya　meets　Chobei　at　the　latter’s　home．　He

returns　Chobei’s　money　and　asks　that　O－Hisa　be　allowed　to　marry　Bunshichi

so　that　Bunshichi　can　set　up　a　hair　salon　under　Chobei’s　compassionate　and

watchful　eye．0－Hisa　returns　from　Yoshiwara，　and　Chobei’s　wife，　still　un－

clothed　and　mindless　of　the　visitors　rises　from　her　hiding　place　and　rushes

forth　to　greet　her　daughter－the　ochi！

AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS 41

The　Work　of　lnterpretation

　　Appendix　A　is　a　romanized　version　of　the　Japanese　version　of　Bunshichi

ルfott（）i　with　my　accompanying　translation．　The　following　conventions　have

been　used．　A　syllable　final　capital　letter‘N’or　one　followed　by　a　consonant

letter　is　used　to　represent　the　Japanese　syllabic　mora　nasal，　a　palatal－velar

nasal　formed　without　tongue－oral　tract　contact（Vance，1987），and　that　is

equivalent　in　timing　to　a　syllable　composed　of　a　vowel　or　consonant－vowel

combination．　Syllables　in　Japanese　are　always　open．．　Hyphens　following　a

word－initial　vowel　or　word　internally　show　morpheme　divisions　between

closely　tied　elements．　Hyphens　preceding　a　word－final　vowel　or　the　mora

nasal　indicate　an　elongation　of　the且nal　syllable，　generally　a　dialectical　al－

lophonic　marker．　A　hyphen　preceding　word一五nal‘tte’is　a　morpheme　indica－・

tor　of　a　speech　style　marker．　In　the　English　translation，　hyphens　between　let－

ters　show　a　drawing　out　of　the　pronunciation　of　the　word　or　phrase．　An　up　ar－

row　shows　that　the　English　translation　represents　an　elevating　respect　verb

in　Japanese．　A　down　arrow　shows　an　English　translation　of　a　humbling　verb

in　Japanese．　Unmarked　verbs　may　be　assumed　to　be　neutral　with　respect　to

status　distinctions．　Only　the〃zakura　and　Scene　I　have　been　transcribed　and

translated．　Appendix　B　is　a　copy　of　Morioka　and　Sasaki’s　translation　and　con－

densation　of　the　same　scene．　A　comparison　of　the　Morioka－Sasaki　translation

of　the　beginning　of　Bunshichi　Mottoi　with　a　linguistically　focused　hermeneu－

tic　one　follows．

　　The　basic　approach　of　the　Morioka－Sasaki　translation　is　to　treat　Bunshichi

Mottoi　as　a　playscript　rather　than　as　an　oral　performance．　Enshou’s　maleura

which　refers　to　the　sandora　vices　is　explained　in　an　earlier　foreword　to　the

42　明治大学教養論集　通巻284号（1996・3）

chapter　in　which　this　translation　occurs．　Yet，　a　frame　is　still　needed．　The

wife’s　first　words　on　page　171　mention　Chobei’s　gambling　at　Hosokawa’s．

The　wife　makes　no　such　comment　in　the　Japanese　original．　lnstead，　the　per－

former　first　speaks　in　general　of　the　sandora，　then　emphasizes　the　all－consum－

ing　passion　of　gambling，　a　past－time　to　which　modern　city　dwellers　in　Tokyo

are　still　very　much　addicted，　and　then　addresses　the　audience　in　a　knowing

tone（for　they　are，　in　all　likelihood，　soul　brothers　to　Chobei）to　bring　them

into　the　world　of　the　tale．

　　The　Morioka－Sasaki　translation　also　finds　it　necessary　to　provide　us　with　a

listing　of　the　dramatis　personae，　as　in　a　western　play．　The　Japanese　original，

even　in　written　form，　has　no　need　for　this．　It　will　rely　on　social　and　gender

clues　ill　the　quoted　speech　of　the　characters，　as　well　as　context，　to　keep

characters　distinct．　Vocalization，　dialect，　and　register　are　suf丑cient　to　this

purpose，　and　can，1　assert　be　translated，　if　the　translator　is　informed　of　the

conventions　of　both　cultures．　Finally，　I　assert　that　the　Morioka－Sasaki　prose

translation　robs　the　original　of　the　impact　of　its　imagery，　tanka　and〃ma，　par－

ticularly　the　type　of　slow　build－up，　reinforcement　of　image，　and　sudden　jux－

taposition　of　contradictions　that　is　source　of　continual　humor　in　this　story．

　　On　page　one　of　appendiX　A　the　Japanese　version　emphasiZes　the　addictive－

ness　and　persistence　of　effort　inherent　in　gambling　as　opposed　to　drinking

and　whoring．　He　addresses　the　audience　as　if　they　have　all　experienced　these

emotions　themselves．　Then　follows　an　example　of　a　simple　leoWfou，　which　the

performer　uses　to　enhance　the　nascent　sense　of　superiority　on　the　part　of　the

audience　by　sharing　with　them　a‘secret’whose　trllth　they　already　suspect．

Even　the　upper　classes　are　addicted　to　this　vice．

　　Now　that　the　raleugo－ha　has　the　attention　of　the　audience，　he　introduces　the

central　character．　As　he　does，　so　his　speech　register　shifts　from　that　of　the　po一

　　　　　　　　　　　　　AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　43

1ite　formal　Japanese　appropriate　to　public　speaking　to　the　dialect　of　the　com－

mon　people　of　Tokyo　in　the　days　of　the　shogunate．

　　Now　comes　a　shift　of　posture．　Chobei　disheartened　at　his　misfortune　and

exhausted　by　a　long　night　of　emotional　ups　and　downs　climaxing　in　total　dis－

aster　stumbles　toward　home．　The　absence　of　lights　alerts　him　to　the　fact　that

something　is　amiss．　He　speaks　in　the　rough　worker’s　dialect　of　an　artisan　of

Edo．‘‘0－％”He　has　been　surprised　by　something　he　sees．‘‘、4肋η゜ №

tsuiteinee　na．”‘‘The　lights　aren’t　on．”The　negative　particle　ill　standard

Japanese，‘nei’is　rendered‘nee’in　this　register．　It　is　attached　to　the　stative

phrasal　verb，‘tsui－te－i－’indicating　a　present　condition・In　standard　polite

Japanese　this　phrase　would　be　rendered，‘tsuiteimasen’or　informally，

‘tsuiteinei’．　The　sentence－final　tag　in　standard　Japanese　would　be‘ne’，　In

Chobei’s　speech　it　becoes‘na’．　In　the　registers　and　dialects　of　Japanese　the

most　common　distinguishing　feature　is　to　vary　the　vowel　quality　of　particles

such　as　the　negative　morpheme　and　sentence且nal　particles．　These　elements

are　part　of　the　morpho－syntactical　system　of　the　langllage，　and　thus　their　role

and　meaning　can　be　inferred　even　when　there　is　variation　from　the　phonologi－

cal　nomls　of　the　standard　dialect．　There　are　tonal　and　lexical　markers　as

well，　bllt　in　comparison　with　this　way　of　marking　dialects　they　are　compara－

tively　rare．　Thus，　even　the　written　Japanese，　based　though　it　is　on　Chinese

characters，　has　established　conventions　for　expressing　such　dialectical　and

reg1Ster　varlat10n．

　　The　speech　of　Chobei，　his　wife，　and　the　other　townspeople　in　this　tale　is

also　marked　by　the　use　of　liaison，　contractions　and　elongatiori　of　phrase　final

vowels．　The　quotative　transcribed　here　as　－tte　is　one　type　of　contraction．　Its

literal　meaning　would‘it　is　said’or‘I　say．’For　example，　in　uppef　class　Brit－

ish　English　one　might　hear，‘‘I　say，　old　chap，　might　1　see　the　newspaper？”In

44　明治大学教養論集　通巻284号（1996・3）

Chobei’s　dialect　of　Japanese　this　would　be　rendered，‘‘Shimbun　chodai－tte．”

（Newspaper－give－quote）In　standard　forma1－polite　Japanese　this　would

become，‘‘Shimbun　wo　leudasai　to　iimashita．”（Newspaper－object－request－、

quote－say－formal－past）It　is　the　morpheme‘to’that　becomes・‘te’with　a

preceding　glottal．stop　in　Chobei’s　dialect．（This　occurs　in　informal　standard

Japanese　as　Well．）Another　example　of　a　contraction　is　the‘n’in‘Nante’．

This　is　a　contraction　of　the　nominative　particle，‘no’which　can　be　rendered

as　pleonastic‘it’in　translation．‘Nante’is‘man（i）no彦o　iu　deshou’in　standard

formal　Japanese．　It　could　be　translated，　depending　on　context　as‘What　is　it

you　say？’　or‘What　shall　I　say？’

　　The　conditional‘deleinaleereba’（if　you　can’t．．．）is　rendered‘dekinaleerya－

a’ ≠獅п@is　an　example　of　an，elongator．　The　elongated　final　glide　replaces　the

conditional　morpheme，‘－erebα’and　makes　the　register　informal．

　　Pronouns　are　used　to　establish　gender　and　social　status．‘atashi’is　the　femi－

nine　polite　pronoun　for‘1’．‘Omae・san’，　affectionate，　informal‘you’is　used　by

awoman　to　her　husband．‘Uchi’（inside　or　house）is　llsed　as　an　inclusive，

dual，　self－referent　pronoun　with　feminine　overtones．‘Omee’masculine，

rough，　infomlal‘you’　is　used　by　a　husband　to　his　wife．（This　form　can　also　be

used　with　other　intimates　of　either　sex，　for　example，　a　long－time　male　col－

league．）

　　Lexical　alternatives　also　identify　register．　For　example，　although　Morioka

and　Sasaki　translate　teahouse　as‘omise’in　the　description　of　dramatis　perso－

nae，　the　actual　term　is・tana’．　The　chinese　character　is　exactly　the　sanne，

however・One　simply　has　to　know　that　when　referring　to　shops　in　the

Yoshiwara，　the　teml　is‘tana’or　else　hear　it　used　in　a　live　performance．

　　Metaphor　is　also　apparent　on　the　first　page．‘Nomu’means　to　drink．‘Utsu’

means　to　shoot　or　to　slap．　And‘leau’　means　to　buy．　The　metaphorical　exten一

　　　　　　　　　　　　　AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　45

sion　to　drinking　alcohoi　is　easy　enough　for　English　speakers　to　grasp．　The

metaphor　of　buying　for　whoring　isn’t　too　distant，　either，　though　not　rendered

that　way　in　English　today．　However，　to　understand　the　metaphor　of‘utsu’

one　has　to　know　that　gambling　with　dice　and　with　cards　in　Japan　involves　a

vigorous　slapping　of　wooden　counters（chips）on　a　table　in　the　case　of　the

former，　and　of　wooden　backed　cards　on　the　table　in　the　case　of　the　latter．　In

fact，　the　term，‘bakuchi’（gambling　with　dice）may　be　an　example　of　sound

symbolism　in　that　it　simulates　the　sollnd　of　slapping　collnters．

　　Other　elements　requiring　a　cultural　background　for　interpretation　are　the

pattern　for　nicknaming，　association　with　place　names，　and　customs　of　the

time．　Tousuke　is　nicknamed　Tou－don　by　Chobei．　Tou　from　the　first　character

for　his　name（FWfi）and　don，　a　contraction　of　donno（master　or　sire）aterm　of

address，　This　nicknaming　pattern　is　no　longer　current　in　modern　Japan．

Yoshiwara　is　the　walled　red－light　district　where　young　girls　were　sold　into

slavery　by　poor　families　and　worked　as　prostitutes．　Chobei　lives　in　a　nagaya

（1it．10ng　house），aone　story　conlmunal　apartment　with　several　very　small　fa－

mily　dwellings　composing　one　building．　The　commoners　of　Tokyo　in　feudal

days　lived，　for　the　most　part，　in　such　structures，　giving　the　city　a　higher　popu－

1ation　density　than　it　has　today．　The且oors　were　s1三ghtly　raised　and　compgsed

of　straw　mats（not　as　nice　as　today’s　tatami）placed　over　parallel　boards　with

openings　between．　Toilets　and　wells　were　communal．　That　is　why　Chobei’s

wife　cannot　leave　the　house　while　Chobei　is　out　in　her　kimono．

　　Stock　phrases　are　used　to　indicate　the　ease　with　which　individuals　switch－

ed　register　depending　on　context．　For　example，　Tousllke　calls　out‘Gomen

lezedesaimashi’a　slight　variation　of　the　polite　form　to　request　attention　of　the

inhabitants　when　enterillg　the　doorway　of　a　private　home　or　a　business．　The

standard　equivalent　is‘Gomen　hudasaimase．’The‘－mashi’ending　indicates

46　明治大学教養論集　通巻284号（1996・3）

that　Tousuke　is　elderly．　Chobei　responds‘donata－sama　de’extremely　forma1

“Who　is　it？”because　as　an　artisan　his　visitor　may　be　a　potential　customer．

Conclusion

　　Japanese　language　and　culture　provides　many　clues　as　to　the　nature　of

characters　and　their　interaction　in　rakugo　stories．　With　a　proper　and　perfor－

mance－oriented　understanding　of　these　elements，　it　should　be　possible　to　cap－

ture　both　the　flavor　and　essence　of　a　tale　in　translating　it　into　English，　as　I

hope　1　have　been　able　to　illustrate　with　my　translation　of　the　makura　and丘rst

scene　of　Bz〃ishichi　1レfottoi．

References

Bowers，　J．（1989）Story　telling　in　Japan：an　ancient　but　vigorous　tradition．　Unpub－

　　　lished　paper　presented　at　the　Third　Biennial　Convention　of　the　World　Communica－

　　　tion　Association，　Pan　Pacific　Hotel，　Singapore．　August　2－10．

Hymes，　D．（1981）‘、伽梅伽∫漉θ4∫o　Te〃You’．　Philadelphia：University　of　Pennsylva－

　　　nia　Press．

MCarthy，　K．（1983）Rakugo．　KodUnsha　EnCyclopediaげノdpan．　Tokyo：Kodansha

　　　Press．241．

Morioka，　H．　and　M．　Sasaki（1990）1肋ん㎎り；　The　PoPularハ危㎜’勿θ．4”（）fJapan．　Cam－

　　　bridge，　MA：Harvard　University　Press．

Takemura，　H．（1977）Wagei・－5碗o　Ketfu　to　Tenkai（The　Speaking　Arts－Their

　　　Genealogy　and　Prospects）．Tokyo：Dentou　Geijutsu　no　Kai（Traditional　Arts　As－

　　　sociation）．

Tedlock，　D．（1983）The　Spoleen　Word　and　the　Work　oflnteipretation．　Philadelphia：The

　　　University　of　Pennsylvania　Press．

San’yuutei　Enshou　VI．（1974）Bunshichi　Mottoi．1～α々㎎o一履1：239－269．　Tokyo：Raku－

　　　go－kai．

Vance，　T．（1987）14n　Introduction　to／dpanese　Phonol（）gy．　Albany：State　University　of

　　　New　York　Press．

AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　47

　　　　　　　　　　　　　　　　　APPENDIX　A

TRANSCRIPT　ANI）TRANSLATION　OF　FRAME

　　　　　　　　　AND　A　PORTION　OF　SCENE　1

　　Nin’gen’ni　wa，　o十douraku　to　iu

mono　wa　tsukl　mon’de　gozaimasu

ga，　naka　de　mo　San’dora　Bon’no　to

itte，　nomu，　utsu，　kau，　to　iun’de

gozaimasu．　Kono　uchi　de，　o十sake

wa　nobetsu　ni　nomigataru　hito　mo

gozaimasu　ga，　shikashi，　shoubu

goto　ni　kurabereba，　son’na　ni　nagai

koto　yatcha－a　orimasen’Shoubu

goto　to　iu　no　wa，　kore　wa　neru　me

mou　nekazu　ni　yaritai．　Dan’dan’

dan’dan’tslli　me　ni　narimashite　ne，

torareba　torareru　hodo，　shin’kan’ni

matte　shimau　to　iu　no　ga，　ano

bakuchi　de　gozaimasu．

　　Mukashi－ya，　ano－o，　daimyou

yashiki　no　chuu十gen’heya　nazo

wa，　sore　koSo－a，　machikata　no　mon

mo　te　wo　ireru　koto　ga　dekinai　to　iu，

are　koso　wa　hon’to　ni　atsurae　muki

no　bakuchi十ba　de　gozaimasu．

　　Hon’jo－u　no　Daruma　Yoko＋chou

ni　shiyakan’no　Choubee　to　iu，　ude

no　ii　shiyakan’shoku　de　oyakata，

kore　ga　bakuchi　ni　kotchimatte，　sut－

ten’ten’ni　toraechimatte．

　　‘‘0－u，akari　ga　tsuiteinee　na．　Dou

　　Some　human　beings　are↑addict－

ed　to　so　called　paths　of　pleasure，

among　which　are↑the　three　paths

of　fleshly　desire．　Among　such　peo－

ple，　there　are↑those　who　like　to

drink　ceaselessly，　but　compared　to

gambling，　it　is↓not　such　an　eter－

nal　thing．　This　thing　called　gam－

bling，　THIS　is↓something　that

even　when　your　eyes　are　heavy　you

want　to　go　without　sleep　to　do↓．

Gradually，　gradually，　your　eyes

close　unintentionally，　right？　But　you

wait　until　it　ends　up　in　the　dead　of

night　to　take　what　you　can　and　be

taken　it　is　said．　That’s　the　kind　of

gambling　it　is↓．

　　In　the　old　da－a－ys，　tha－a－t　secret

room　in　a　great　lord’s　townhouse，

that　room　tha－a－t　even　the　city

magistrate’s　police　were　said　to　be

unable　to　enter，　that　one　was↑real－

1y　an　ideal　gambling　den．

　　In　Honjou’s　Daruma　Yokocho，　a

plasterer　by　the　name　of　Chobei，　a

master　plaster　of　great　skill，　over－

played　his　hand　at　dice　and　was

48　明治大学教養論集　通巻284号

shitan’dai，　uchi　ga　makkura　ja　shou

ga　nee．．．．．．A－a　omee，　mesomeso

naiteru　na．　Son’na　kotcha　shou　ga

nee　ze，　bakuchi　no　niyoubou　ga，　ie

de　motte　mesomeso　nateiru　you　ja，

de　nee　no　ga　atarimee　da．．．．．．　Akari

de　tsukeroi

　　“Ma－a　omae－san’，　okaeri　kai．　Tai－

hen’da　yo．　Akari　dokoro　no　sawagi

ja　　arimasen’　yo．　0＋hisa　　ga

yube十tte　kara　ie　ni　inai　yo”

　　‘‘Nan’da，　musume　ga　ineeP　O十hi－

sa　ga　inee十tte　no　ka．　Sagashitara

dou　dai．”

　　‘‘Zuibun’atashi－a　sagashita　ga，

doko　ni　mo　inai　yo．”

　　‘‘Ome　no　sagashi　you　ga　waruin’

ja　nee　ka．　Inee　tokoro－i　itte　sagasu

kara　ikenee．　Na？Iru　tokoro　itte

sagashite　koi．

　　‘‘Iru　tokoro　ga　han’rya－a　kurou

shiya　shinai　yo．　Ne？Kon’na　koto－a

omae十san’no　mae　de　iitaka－a　nai

ga，　omae　wa　shiyakan’no　oyakata

de　Chobee　to　iwareru　hito　daro，　sore

ga　omae，　shigoto　nan’za－a　sotchi　no

kede，　bakuchi　ni　bakkari　kotteiru

、kara，　uchi－n’　juu　goran’　nasa量，

nan’ni　mo　arya－a　shinai．　Ano　ko

datte，　on’boro　san’boro，　warame　no

gyouretsu　mitai十na　mono　wo　kite－

sa，　kawaisou　ni，　ne－e，　mou　toshi　ga

（1996・3）

taken　for　all　he　had．

　　‘‘He－e－y，　the　lights　ain’t　on．

What’s　goin’on？　The　house’s　com－

pletely　dark．　What　a　bummer．

（He　sees　his　wife　and　mutters　to

himself．）Ah，　come　on．　Don’t　whim－

per　like　that．　It　can’t　be　helped　I

guess．　A　gambling　addict’s　wife

stuck　at　home　is　bound　to　whimper

　　’til　her　eyes　are　dry．　That’s　to　be

expected　ain’t　it！（To　his　wife）

‘‘

gow’s　about　puttin’on　some

lightP”

　　‘‘0－o－o－h，dear，　are　you　homeP

There’s　big　trouble．．This　is　no　time

to　be　makin’alot　of　noise　about

light．0－hisa’s　been　missing　since

last　night！”

　　“What！？My　daughter’s　missin’？

0－hisa’s　missin’，　you　say？Why

don’t　you　look　for　her？”

　　‘‘Ireally　did　look　hard　for　her，　but

she’s　nowhere　to　be　found．”

　　‘‘Then　the　way　you　looked’s　bad．

Lookin’where　she　ain’t　ain’t　gonna

do　no　good．　Right？Go　look　where

she　is！”

　　‘‘So，　where　she’s　at　is　cut　and

dried，　huh？Don’t　put　youself　out！

Look，　I　haven’t　been　wantin’t’say

this　t’yer　face，　but　you’re　the　guy

what’s　called　Chobei　the　master

AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS

juu－shichi　da　yo，　itsu　made　mo　kodo－

mo　ja　imasen’yo．　Sekan’no

musume十san’no　narifuri　wo　mite　　　　　　　　　　　　　　　　　　　　　　　　　　　　　，

atashi　datte，　an’na　nari　wo　shite

mitai．　Dekinakerya－a，　isso　no　koto．

Fuchikawa　e　mi　wo　nagete　shimaou．．．．．．

Nan’te，　hyon’na　ryouken’de　mo

okosareta　shi　ni－ya，　atashi－a，　koko

ni　ita　tamarenai　yO”

　　‘‘Temee　wa　nani　ka，　koko　ni　in－

ee十tte　e　no　kai．0十hisa　wa

doushite　mo　Fuchikawa　e　minage

wo　sun1十tte　itta　kaiP”

　　‘‘Sou＿＿iuyaa　shinai　kedo，　son’－

na　koto　ga　attara，．＿．”

　　‘‘Attara　temee　wa　koko　ni　in－

ee十tten’da　naP　Ore　mo　koko　ni

ロ　　　　　　　　　Pl

lnee　ya

　　‘‘Nani　wo　itterun’da　ne，　koko　wa

omae十san　no　uchi　da　yo”

　　‘‘Uchi　datte，　sou　wa　ikanee，，．．．．

49

plaster，　right？The　job’s　yours，　but

no－o，　you　hafta　be　addicted　t’gam－

blin’．　Look　around　this　house！We

don’t　have　a　thing！That　poor　child，

what　she　wears　is　like　a　rag。tag　line

of　seaweed．　Poor　thing．　Look！She’s

串eventeen・She　won’t　always　be　a

child！She　sees　how　the　other　girls

dress．1’d　like　to　dress　that　way　my－

self．　But　we　can’t．　That’s　always

the　way　it　is．　She’s　gonna　end　up

goin’to　the　Fuchikawa　river’n　thro－

win’herself　in＿All　right！If　you

even　gave　it　a　single　thought，　you

might　wake　up　one　day．　As　for　me，　I

can’t　stand　bein’here　any　more！”

　　‘‘So　you　whatP　Not　bein’here’s

okayP　You’re　sayin’that　O－hisa’s

gonna　throw　herself　into　the

Fuchikawa，　rightP”

　　‘‘Iain’t　sayin’that，＿But　if　some－

thin’was　t’hapPen．．．”

　　‘‘If　somethin’was　t’happen，

you’re　leavin’，　right！P　Wel1，　if　you’re

leaVing’，1’m　leaVing’．”

　　“Whaddaya　talkin’about？This

here’s　yer　house，　ya　knowP”

　　“My　hoqse？　Uhhh，　yeah，1　gu号ss　I

can’t　do　that。”

50　明治大学教養論集　通巻284号（1996・3）

　　　　　　　　　　　　　　APPENI）IX　B

PRESENTATION　OF　RAKuGoハ卿0∴BuNSI孤㎝I

MoTTOI，　OR‘‘（THE　ORIGIN　OF）BuNsHICHI’S

　　　　　　　　　　　　HAIR二BAND　SHoP”

　　The　following　version　of　theη吻b　banashi　Bunshichi　mottoi　is　a　slightly

shortened　translation　of　the　transcfiption　of　an　actual　performance　by

San’yUtei　Ensh6　VI．

　　In　form，　Bunshichi　mottoi　is　a　so－called‘‘origin　story，”as　are　some　others

in　the　rakugo　repertoire．　It　tells　the　background　of　the　establishment　of　a　mot－

toi　hair－band　shop　in　K61imachi．

　　In　the　makura，　Ensh6　VI　speaks　about　the　sandora，　the‘‘three　ways　of

pleasure．”Craftsmen　were　especially　inclined　to　gambling，　and　this　vice　was

frequently　the　undoing　of　themselves，　their　wives，　and　their　children。

　　The　dramatis　personae　of　the　main　plot：

Ch＝Ch6bee，　a　plasterer　living　in　Daruma－yokoch6，　Honj’o

W＝Ch6bee’s　wife

H＝Hisa，　also　called　O－Hisa，　the　daughter　of　Ch6bee　and　his　first　wife

T　＝T6suke，　clerk　at　the　teahouse（omZSθ）Sanozuchi　in　Yoshiwara

M＝Madam　of　Sanozuchi

O＝Omiya　Uhei，　owner（danna）　of　a　wholesale　tortoiseshell　store

C＝head　clerk（bantb）of　Omiya　Uhei

B＝Bunshichi，　apprentice　and　distant　relative　of　Omiya　Uhei

S＝servants，　a　sake　dealer（minor　roles）

N＝narration，　introductbry　and　connecting　words

Scene　I：At　Ch6bee’s　home（Ch6bee，　Wife，　T6suke）

W：What　are　you　doing？Why　don’t　you　come　in　here？You’ve　lost　at

AVOIDING　THE　TRAP　AND　SETTING　IT　FOR　OTHERS　51

　　　　　Hosokawa’s　again，　haven’t　youP

Ch：Have　1　lost　again？　There’s　no　need　to　think　that　I　go　there　to　lose．　I　went

　　　　　there　to　make　a　bundle　but　got　beaten　instcad．　What’re　you　weeping

　　　　　for？

W：You’d　feel　like　crying，　too．　Hisa’s　been　missing　since　last　night－our

　　　　　daughter’s　missing！

Ch：Missing？　Well，　that　can’t　be　helped．　There’s　saying　that“Even　beans　in

　　　　　the　shade　burst　whell　it’s　time　to！”She’s　already　17，　isn’t　she？　The

　　　　　cabinet　maker，　Hank6，　had　a　funny　look　on　his　face　the　other　day．　She

　　　　　must　have　gone　to　Hank6’s　place，　so　go　bring　her　home．

W：You　must　be　kidding．　She’s　not　that　kind　of　a　girl．　She’s　in　my　care．

Cl1：She　may　be　in　your　care，　but　no　one’s　going　to　ask　permission　from　par－

　　　　　ents　to且irt．　A且irtation　occurs　on　the　spur　of　the　moment．　Whoever

　　　　　heard　of　someone　saying，“The　day’s　come　for　me　to且irt，”Why　don’t

　　　　　you　bring　her　home　then？

W：1　don’t　know　where　she　is？

Ch：Go　to　wherever　she　is　and　bring　her　home　then．

W：Don’t　say　such　impossible　things．　If　I　knew　where　she　was，　there’d　be　no

　　　　　problem・LQok，1’m　going　to　mention　something　awkward，　but　she

　　　　　isn’t　my　own　child．　She’s　your　first　wife’s　child，　you　know．　She’s　not

　　　　　my　o㎜且esh　and　blood，　but　no　one　is　as　good－natured　a　child　as　she　is，

　　　　　She　is　already　of　marriageable　age　so　that　a　parent　would　feel　like

　　　　　buying　her　a　kimono　or　a　pair　or　geta　clogs．　Look　at　you！Have　you

　　　　　ever　done　such　a　thing　for　her？You　keep　her　in　rags　all　the　year

　　　　　round，　and，　when　yoll　come　home　after　losing　at　Hosokawa’s，　yoll

　　　　　take　it　out　on　me　by　hitting　and　slapping　me，　She’s　such　a　kindhearted

　　　　　soul＿If　she　has　taken　it　to　heart　and　either　drowned　herself　or　hung

　　　　　herself　because　of　your　behavior，1’m　leaving！

Ch：You　do　say　such　unlucky　things，　really　now．　If　you’re　leaving，1’m　leav－

　　　　　ing，　toO！

W：You’re　leaving　when　this　is　your　house？

（ジェイムズ・R・パワーズ　明治大学教授）