INADA Hideo

1)The verses of the Komai contained in the newly discovered Horeki Namekawa script 'Enzatsu-rui' match many of those contained in the Hamada script that was handed down to Chofu. 2)The Komai depicts a man and woman with shaved hair drinking sake together and praying to the Buddha in prayer. It is also a pun on the verses of the Noh play “Tamura”. 3)Kyogen “Rokunin-so” is recognized for its idea of wishing for a future life (becoming a Buddhist ascetic) with the act of shaving as a prank. It inherited the framework of the tale of a drunken becoming a monk. Based on the premise of an ending that makes use of this framework, the idea of adding a drinking scene accompanied by a Komai was conceived in the Horeki Namekawa version. 4)At the end of Horeki Namekawa version “Rokunin-so”, there is a mixture of the medieval elements inherited by this work (becoming a priest with mischief as a trigger) and its development in the Edo period (a reconciliation that did not lead to being a priest).

1）"Muen-muko" and "Ginzaburō" are two different names for the same kyōgen. The Hōreki Namekawa version of the Kyōgen "Muen-muko" is more unique than the other scripts, but it rather diminishes the characteristics of this Kyōgen. This is probably due to the fact that it was created based only on what he had seen and heard of the central flavor of this Kyōgen. 2）The Eyama version of the Kyogen "Ginzaburō" is close to the other scripts, yet has some old-fashioned elements. 3）The Hōreki Namekawa version of "Muen-muko" was resumably created under the influence of the Genroku, Hōei and Shōtoku periods, when rare Noh and Kyōgen performances were popular.