土佐浄瑠璃の脚色法(五) : 「塩谷文正物語」におけるお伽草子の浄瑠璃化

"Shioyabunsho-monogatari", one of the well-known Tosa Joruri works, is an adaptation of "Bunsho-zoshi" which is one of the Otogi-zoshi works. In the present paper we would like to make observations on "Shioyabunsho-monogatari" to examine some adaptation techniques through a comparative study of the two works above mentioned. We shall first discuss some characteristics of "Shioyabunsho-monogatari" specifically, and then develop our discussion further to characteristics in general in adapting Otogi-zoshi for Joruri. "Shioyabunsho-monogatari" has various highlights both on stage and in music which "Bunsho-zoshi", its predecessor, does not have. For example, a battle scene similar to Kimpira-Joruri was put in Act II. In Act III, there was inserted the scene of marital engagement between the hime (princess) and Nii-no-shosho, which was an application of Noh music, "Hitachi-obi". In Act IV, fushigoto (musical performances) such as "Chodo-zukushi", "Kotori-zukushi" and "Meiko-zukushi" were added. "Bunsho-zoshi" is a story of a poor unknown salt-roaster becoming wealthy and going up to miyako (the capital) to be a member of the aristocratic circles. The whole story is romantic and full of exciting events, but its way of description is rather monotonous and prosaic. On the other hand, Tosa-Joruri has enriched the story by integrating newly created dramatic highlights as well as musical ones into it. Through various specific observations we made in this paper we can conclude that one of the basic ideas and techniques of adaptation of Otogi-zoshi for Joruri is to put in highlights both from the dramatic and musical angles so that the stage as a whole can more dynamically attract its audience