Intertextuality and Corporality in Chikamatsu Monzaemon’s Shutendōji makura kotoba

Among Chikamatsu Monzaemon’s jōruri, there are two dramas which feature the legend of Shutendōji: Shutendōji makura no koto no ha/Shutendōji makurakotoba (first representation in 1709) and Keisei Shutendōji (1718). In this paper I focus on Shutendōji makurakotoba, performed at Takemotoza with Takemoto Gidayū (1651-1714) as the main chanter, and I will consider in particular the theme of corporality as it appears in Chikamatsu’s puppet dramas. Shutendōji makurakotoba is built upon the various legends concerning Shutendōji in emaki, ezōshi, monogatari, Naraehon, otogizōshi, or yōkyoku (nō texts) such as Ōeyama and kojōruri, but presents a much more elaborate plot. This work by Chikamatsu depicts numerous heroic adventures carried out by Minamoto no Raikō and his shitennō (“Four Heavenly Kings”), managing to combine them in a coherent plot. In particular, in his jōruri, Shutendōji, as a “child”-demon or monster, is slayed by Raikō and his loyal retainers, but just as the nō drama Ōeyama demonstrates a feeling of sympathy to the demon, the drama by Chikamatsu also enhances the humanity and sorrow of Shutendōji as a human who has tragically become a demon. This transformation manifests itself in his appearance and physical aspect, as well as in his terrible actions. Additionally we see migawari 身替り(self-other exchange, exchange of person or body) emerge as a central theme--a significant expedient in the development of the history of puppet theatre dramaturgy, which becomes a decisive and recurrent device in Chikamatsu’s theatre. The motif in this case is manifested in the tragedy of women as victims, and female characters in particular, who are replaced, sold, kidnapped, and sacrificed. If the leading theme is a series of such migawari, the theme of corporality, of the person and his body, is also entwined and appears at the root. By comparing this jōruri with previous literary works and plays (with reference to the New Classical Sources data base), in this paper I will examine the story of Shutendōji in puppet theatre, and its adaptation to new premodern sensibilities.