Kyoden Santou's Masterpiece 'Edo-umare Uwaki no Kabayaki' Recreated in Taiga Drama 'Berabou,' Becoming a Hot Topic

The currently airing Taiga drama "Berabou: Tsutajyuu Eiga no Yume Banashi" is generating significant buzz as Kyoden Santou's representative kibyōshi (yellow-backed book), "Edo-umare Uwaki no Kabayaki," has been recreated as a play-within-a-play within the series. This work is once again drawing attention not only for its significant influence on Edo society at the time but also for its universal humor that resonates even today.

The Social Phenomenon Caused by Enjirō

"Edo-umare Uwaki no Kabayaki" was one of the particularly popular kibyōshi written by Kyoden Santou. The protagonist, Enjirō, is a young man who behaves comically due to his excessive longing to be a ladies' man. Its ending is a delightful twist, reminiscent of Chief Ōhara's punchline in "Kochikame": a false lovers' suicide attempt turns into Enjirō being stripped naked by a thief, only for the thief to be revealed as his own father trying to teach him a lesson, leading to Enjirō's reform.

On social media, numerous comments praise its timeless humor, such as "It's similar to Don Quixote, who went mad from admiring chivalric romances too much," "It feels like a school festival skit," "It's utterly ridiculous but makes you laugh," and "It's still relevant today." Phrases like "Shishibana no Enjirō" (Lion-nosed Enjirō) and "Kyoden-bana" (Kyoden's nose), which appeared in the work, became buzzwords in Edo at the time, causing a social phenomenon.

Tsutajū's "Stylish Revenge" Through Publication

In the Taiga drama "Berabou," the background behind publisher Tsutaya Jūzaburō's release of "Edo-umare Uwaki no Kabayaki" is depicted. At the time, the assassination of Tanuma Okitomo by Sano Zen'emon Masakoto and the subsequent spread of rumors about "Sano Yonaoshi Daimyōjin" (Sano, the Great God of World Reform) created an unsettling atmosphere in Edo. Tsutajū planned this trending kibyōshi to dispel this oppressive mood and divert people's attention from "Sano Daimyōjin."

In the drama, the main cast enthusiastically performed Enjirō's story, and their star-studded lineup and comical acting entertained viewers. Hashimoto Ai's captivating portrayal of a geisha in a short skit, in particular, has received high praise. Through this work, Tsutajū aimed to sway public opinion and restore laughter and vitality to the people. On social media, it was praised as "Tsutajū's stylish revenge" and "revenge through the power of the brush," and it was depicted that Tanuma Okitsugu, a powerful figure at the time, also sensed Tsutajū's intention and smiled.

Furthermore, the success of this work also helped restore the smile of Taresode, whom Tsutajū held dear. Meanwhile, with the emergence of this work, lauded as the masterpiece of kibyōshi, viewers' interest is also growing regarding its future impact on publishing culture, especially amidst the historical backdrop of Matsudaira Sadanobu's shift towards austerity.

Edo Culture's Entertainment Value

"Edo-umare Uwaki no Kabayaki" is not merely an entertainment work; it skillfully intertwines the social conditions and human psychology of the time, conveying to modern audiences how information and trends were formed and influenced society. Its popularity remains strong today, with merchandise of the protagonist Enjirō even sold at the Taiga Drama Museum in Taito Ward. This work, which played a part in Edo's rich entertainment culture, offers insightful content for considering the influence of media and information in contemporary society.

The Context

The article discusses a key work from the Edo period (1603-1868) featured in "Berabou: Tsutajyuu Eiga no Yume Banashi," an ongoing Taiga drama. Taiga dramas are long-running annual historical fiction series produced by NHK, Japan's national public broadcaster. They are immensely popular and often bring historical figures and events into contemporary public discourse.

Kibyōshi (Yellow-backed books) were a genre of popular illustrated prose fiction from the late 18th century in Japan. Characterized by their yellow covers, they were short, satirical, and often humorous, appealing to a wide urban audience. They frequently parodied contemporary events, customs, and literature, making them a significant form of social commentary and entertainment.

Santō Kyōden (1761-1816) was a prominent Edo-period writer, artist, and playwright, celebrated for his kibyōshi and other literary works. He was known for his wit and satirical critiques of society.

Tsutaya Jūzaburō (1750-1797), known as Tsutajū, was one of the most famous and influential publishers of the Edo period. He played a pivotal role in shaping Edo popular culture by publishing ukiyo-e prints and various forms of popular literature, including kibyōshi and sharebon (books of wit and fashion).

The article mentions a significant historical event: the assassination of Tanuma Okitomo by Sano Zen'emon Masakoto in 1784. Tanuma Okitomo was the son of Tanuma Okitsugu, a powerful senior councilor (Rōjū) during the mid-Edo period whose administration was characterized by economic reforms and perceived corruption. Sano Zen'emon, a minor official, assassinated Okitomo, leading to a public outcry against the Tanuma regime. Rumors spread, deifying Sano as "Sano Yonaoshi Daimyōjin" (Sano, the Great God of World Reform), reflecting popular dissatisfaction and hopes for political change. Tsutajū's publication of "Edo-umare Uwaki no Kabayaki" is depicted as an attempt to redirect public attention from this politically charged atmosphere.

The mention of Matsudaira Sadanobu's shift towards austerity refers to the Kansei Reforms (1787-1793), a series of strict moral and economic reforms implemented by Matsudaira Sadanobu, who became the chief senior councilor after the fall of the Tanuma regime. These reforms aimed to restore moral discipline and financial stability, often through censorship and restrictions on entertainment and luxury, which significantly impacted Edo's vibrant publishing and cultural scene.

Finally, the comparison to Chief Ōhara in "Kochikame" refers to "Kochira Katsushika-ku Kameari Kōen-mae Hashutsujo" (This is the Police Box in Front of Kameari Park, Katsushika Ward), an extremely popular and long-running Japanese manga series. Chief Ōhara is the hot-tempered superior of the eccentric protagonist Ryo-san. He is often driven to comical fits of rage and exasperation by Ryo-san's antics, which frequently end in a surprising or absurd punchline, much like the twist in the kibyōshi's plot.