Success and Spin-offs
Kaion's production was successfully performed without incident in 1719. In addition to employing the device known as mitate, of substituting earlier figures and events for later ones, Kaion ensured that the play would be satisfactory to the censors by portraying Yoritomo, who represents Ieyasu, in a positive light. While Yoshitsune is indecisive, and his men disunited, Yoritomo is portrayed as a military genius, dedicated and noble.
The play was reworked and reproduced under a number of different titles over the ensuing decades, to varying levels of success. Nanbantetsu Gotō Menuki, which changed the sekai of the play from that of Yoshitsune to that of the 14th century Taiheiki (Nanboku-chō Wars), was written in 1735, but was never allowed to be published or performed. This was due in part to a scene in which an assassination attempt is made upon Ashikaga Takauji, who represents Ieyasu. Yoshitsune Shin-fukumi-jō (Yoshitsune's New Veiled Letter), created in 1744, was based very much on the original, but ended in a reconciliation between the brothers, dropping the siege scenes. Yoshitsune Koshigoe-jō (Yoshitsune's Letter from Koshigoe), was produced ten years later in 1754, and incorporated elements of Nanbantetsu, including the assassination scene of Act IV. This act was forbidden to be performed, and was not seen until 1770; the play was published in its entirely shortly afterwards, implying that it was also performed in its entirely on at least a few occasions.
Read more about this topic: Yoshitsune Shin Takadachi
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