The play in nine acts "Futatsu Chôchô Kuruwa Nikki" was originally written for the puppets theater and performed for the first time in the 7th lunar month of 1749 at the Takemotoza in Ôsaka. It was adapted for Kabuki a few weeks later by the zamoto Arashi San'emon IV in the 8th lunar month of 1749 in Kyôto. The roles of the 2 sumô wrestlers Nuregami Chôgorô and Hanaregoma Chôkichi were played by the actors Nakayama Shinkurô I and Fujikawa Heikurô.

The play "Futatsu Chôchô Kuruwa Nikki" was a 9-act drama (11 scenes), including a michiyuki.

The "Hikimado" and "Sumôba" acts are regularly staged independently and are both very popular. "Komeya" and "Nanba Ura Koroshi" are usually staged as part of a tôshi kyôgen production. "Izutsuya" or "Hashimoto" are rarely staged. Act I and the michiyuki were revived in September 1968 at the National Theatre.

Act I, scene 1: Kiyomizu Ukamuse
At the Ukamuse Restaurant near the Kiyomizu Temple

Fujiya Azuma and Fujiya Miyako are two lovely Ôsaka courtesans and intimate friends. The former is the lover of Yamazaki Yogorô and the latter is in love with Nan Yohê. However, both are targeted by rival in love of these two men. Azuma is being sought by the samurai Hiraoka Gôzaemon and Miyako by Gôzaemon's colleague Mihara Ariemon as well as by Yogorô's tedai Gonkurô. They have heard rumors that the rival suitors are preparing to purchase the courtesans' contracts, and are anxious to inform their lovers so as to have them take actions to forestall the plans of the bad men.

Yogorô has organized an outing at the Shinkiyomizudera temple in Ôsaka. Azuma and Miyako are both present, accompanied by other courtesans, nakai and taiko mochi. The two courtesans are waiting eagerly for the arrival of their respective lovers.

Nan Yohê arrives at the site, looking for Miyako. Yohê used to be an official with important duties before his downfall because of his love affair with Miyako. He is now making a living by producing and selling whistles. The others tactfully withdraw, leaving Yohê alone with Miyako. Miyako starts to tell him of Gonkurô's advances, but Yohê, instead of reacting as Miyako expects him to, sarcastically says that Gonkurô works in a prosperous shop and is a better choice than a penniless whistle-maker. A brief lover's quarrel ensues, which, however, is soon ended. Miyako and Yohê agree to meet later in the different place but they both leave the stage.

Now Hiraoka Gôzaemon and Mihara Ariemon appear on stage, where they meet the dubious taiko mochi Sadoshichi. This evil man was asked by the two samurai to get the opportunity to meet the two courtesans. Sadoshichi says he will make arrangements but it is obvious that he has a different plan up his sleeve.

Finally, Yogorô appears on stage. Azuma hurries out to greet him but Yogorô does not notice her at first. Azuma decides to put on an act and becomes suddenly ill. Yogorô is flustered until he understands that Azuma and her companions are just teasing him. Sadoshichi approaches Yogorô and tells him about Hiraoka Gôzaemon's plans to ransom Azuma. The rich samurai has promised to pay 300 ryô this evening. Yogorô answers that he has just received 300 ryô from his business in Ôsaka and that he has entrusted the money to Gonkurô. He asks Sadoshichi to go to get the money from Gonkurô and use it to purchase Azuma's contract. Azuma is relieved but she is unaware that Sadoshichi is up to mischief.

In the meantime, the clerk Gonkurô, who wants to get Miyako and has asked Sadoshichi to make arrangements for him, comes to the site. Sadoshichi approaches him with Yogorô's request about the 300 ryô. Gonkurô reveals that he has 300 ryô with him … in counterfeit money! He hands the fake money over to Sadoshichi while Gonkurô pockets the real money. He will use it to purchase Miyako's contract. The two villains congratulate themselves.

Sadoshichi, who has taken care of handing over the fake money in Yogorô's name, returns to the site where he meets Gôzaemon and Ariemon. He shows Gôzaemon the official paper freeing Azuma from service at the brothel. Gôzaemon is angered at Sadoshichi's treachery, but Sadoshichi reveals that the paper does not include the name of the redeemer. Any name can be written on this important document later.

A messenger from the Fujiya house of assignation appears on stage. He tells all that Yogorô's money is not genuine. Yogorô, who is called back on stage, has to give some explanation about this affair. Yogorô is accused by the two samurai, Sadoshichi and Gonkurô of using knowingly counterfeit money to purchase Azuma's contract. They order him to pay the sum in real money immediately if he does not want to be accused of a serious crime. Yogorô is in trouble. Yohê suddenly steps out. Yohê has witnessed everything and knows the evil plan. He threatens to reveal all. Gôzaemon and Ariemon flee as quickly as possible. Azuma comes hurrying out to thank Yohê for his help. Then, she introduces Yohê to Yogorô as Miyako's lover. They all go inside the Ukamuse restaurant to have a drink together.

Act I, scene 2: Kiyomizu Kannon Butai
On the Kannon Stage at the Kiyomizu Temple

Hiraoka Gôzaemon and Mihara Ariemon are upset by the failure of their plans. They come to the conclusion that they must kill Yohê in order to straighten matters out. They work out another plan with the taiko mochi Sadoshichi.

Presently Yohê comes running to the Kannon stage at the Kiyomizu temple. He was attacked by a group of hoodlums hired by Sadoshichi. In the ensuing fight, Sadoshichi has bitten Yohê's little finger with full tooth, biting it off. Yohê killed Sadoshichi, leaving his little finger in the mouth of his enemy, and has run away.

He meets Miyako by chance and tells her the whole story. As pursuers close in, Miyako hides him in a chest and sits on it. Gonkurô finds her there and makes amorous advances, showing her a certificate that says he has paid off Miyako's ransom. She suddenly says that she wants him to prove the depth of his love for her. She asks him whether he would cut out his little finger as a token of love. Gonkurô is unwilling but Miyako forces him to do it reluctantly. A group of torite arrives at the Kannon stage. They check Gonkurô's hands and find that one finger is missing. They know that Sadoshichi has been killed and the corpse had the bitten-off finger of the killer in his mouth. Gonkurô makes a good suspect. He is taken away along with Miyako for further questioning.

Yohê comes out of hiding but he is spotted by Gôzaemon and Ariemon. They run after him, but Yohê escapes, opening a parasol and using it as a parachute to fly down to safety from the high pavilion to the ground below.

Act II: Horie Sumô Goya Mae
In front of a temporary Sumô Area in the Horie district of Ôsaka
--> A dedicated summary: "Sumôba"

This act shows the rivalry in Horie between two sumôtori, Nuregami Chôgorô and Hanaregoma Chôkichi. In order to help his master Yamazaki Yogorô to buy out the contract of his lover, the beautiful courtesan Fujiya Azuma, the senior wrestler Nuregami Chôgorô, who has not yet lost a match since the beginning of the sumô tournament in Horie, throws a match, letting the younger wrestler Hanaregoma Chôkichi win. Chôgorô hopes to get his help as Chôkichi's most important patron is Hiraoka Gôzaemon, the rival in love of Yogorô, who also wants to buy Azuma out. The young wrestler loses his temper when he learns the truth directly from Chôgorô's mouth and the two end up competing in a test of pride.

Act III: Shinmachi Kuken Izutsuya
At the Izutsuya Tea House in Shinmachi Kuken

Act IV: Daihôjimachi Tsukigomeya
A Rice-cleaning Store in the Daihôji-machi district of Ôsaka
--> A dedicated summary: "Komeya"

Act V: Nanba Shibai Ura
Behind the Nanba Theater District of Ôsaka
--> A dedicated summary: "Nanba Ura Koroshi"

The scene is set at night in a field near the Dôtonbori theater district. The samurai Hiraoka Gôzaemon and Mihara Ariemon have captured Fujiya Azuma and Yamazaki Yogorô. Gôzaemon, who has paid a huge amount of money for Azuma's miuke, tells the courtesan that she is now his wife. Yogorô is beaten up but he refuses to accept losing his lover. Both Azuma and Yogorô are ready to die. Nuregami Chôgorô comes running and, with his amazing physical strength, violently pushes the two samurai aside. He tells Azuma and Yogorô to hide. They regain consciousness but, instead of reasonably discussing with Chôgorô, they prefer to draw their sword and attack Chôgorô. The sumôtori is too strong for both Hiraoka Gôzaemon and Mihara Ariemon, who are easily beaten and injured. Chôgorô has no other choice than to finish off the two wounded men. Hanaregoma Chôkichi arrives at the scene of the crimes and Chôgorô asks him to take good care of Azuma and Yogorô. When Yogorô tries to kill himself, Chôkichi stops him. He advises Chôgorô to flee to avoid being arrested. Chôkichi's two good-for-nothing friends Geta-no-Ichi and Node-no-San, who have seen everything, say that they will report Chôgorô's crime to the authorities. With Chôkichi's consent, Chôgorô kills them both.

Act VI: Hashimoto Jibuemon no Yashiki
At Hashimoto Jibuemon's Mansion
--> A dedicated summary: "Hashimoto"

Oteru, Yogorô's deserted wife, now lives with her father, Hashimoto Jibuemon. One day, Yogorô and Azuma arrive in this house in a palanquin. Yogorô asks Oteru to let him and Azuma stay in father's home. Oteru agrees to keep Azuma but not Yogorô. advises Yogorô to return to his own house. Jibuemon, who has been eavesdropping their conversation, appears and tells Yogorô that he can stay at one condition: the writing of a divorce letter. Yogorô accepts and Azuma keeps it to herself as she feels sorry for Oteru.

Yamazaki Yojibê, Yogorô's father, visits the house and asks Jibuemon to let him take Oteru to his house. Jibuemon refuses and the two strong-willed men' quarrel. Jinbê, one of the two palanquin bearers, enters the house and proposes to negotiate alone with Azuma. Jinbê in fact confesses to Azuma that she is indeed his daughter. He had to abandon her when she was six years old. He makes an earnest appeal to Azuma to give up Yogorô. She is about to kill herself when Jibuemon reappears. He will pay the remaining sum of her ransom by selling his precious sword. Then Yojibei reappears. He has shaved his head and wears a Buddhist priest's robe. He has entered the Buddhist priesthood in order to atone for his Yogorô's misconduct. All agree that Oteru and Azuma will stay at Yojibei's home as Yogorô's wife and Yogorô's mistress.

Act VII: Michiyuki Natane no Midarezaki
The Turbulent Blooming of Rapeseed Travel Dance [illustration]

In this michiyuki, Fujiya Azuma and Yamazaki Yogorô travel together. Yogorô is not well for he has gone mad. The lyrical scene ends with a beautiful description of the scenery and circumstances.

Act VIII: Yawata no Sato Yohê Sumika
At Yohê's home in the Village of Yawata
--> A dedicated summary: "Hikimado"

Chôgorô, after the killing in Nanba, is on the run, wanted by the police. He arrives at his real mother's house, Okô, who has remarried and lives in small village with her foster son, Nan Yohê, and his wife, Ohaya. Chôgorô intends to surrender himself to the police after one final meeting with his mother. Okô and Ohaya receive him warmly. Okô asks Chôgorô to rest at the second floor room and she starts cooking with Ohaya.

Having been summoned by the local magistrate, however, Yohê is out. To his great joy Yohê has been finally allowed to inherit both his deceased father's name, Nanpô Jûjibê, and his duties. He has received from the magistrate his truncheon and he is now a respectable rural policeman. He returns home triumphantly with Hiraoka Tanbei and Mihara Denzô, the brothers of Hiraoka Gôzaemon and Mihara Ariemon, who were killed by Chôgorô. Ironically, Jûjibê's first assignment is to arrest Chôgorô, the foster brother he has never met. The manhunt for Chôgorô is about to start. While Hiraoka Tanbei and Mihara Denzô take charge of the daytime search, Jûjibê is ordered to search the killer at night. Okô asks him about the personal description that is being circulated, so that Chôgorô can disguise himself and escape from the village without being recognized. Jûjibê becomes vaguely aware of the presence of someone upstairs. He leaves the house and quietly goes round to the back yard with the intention of discovering the intruder, whom he now suspects is none other than Chôgorô. Eavesdropping on Okô and Chôgorô, he gradually comes to have compassion for Chôgorô, who must have suffered countless hardships as an orphan. Finally, Jûjibê decides to let Chôgorô go away, even at the sacrifice of his new duties.

When Jûjibê allows Chôgorô to make his escape, it is night. In those days it was the custom to close the skylight shutters at night. Jûjibê takes full advantage of this custom to rationalize his actions. He cuts the rope of the roof skylights, letting the moonlight entering into the room. Jûjibê tells all that it is morning already, and that his duty is over as he is in charge of the night time only.

Act IX

This summary would have not been possible without the help of Sekidobashi Sakura!

[1] The title "A Diary of Two Butterflies in the Pleasure Quarters" comes from the 1st volume of "Kabuki Plays On Stage".

"Futatsu Chôchô Kuruwa Nikki" at the Naka no Shibai in the 12th lunar month of 1762 (more details through the link below)

Prints & Illustrations