2025 NHK Taiga Drama: Berabo (Unbound) Eps. 24 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 24: Nihonbashi Remains Aloof 「げにつれなきは日本橋」
(originally aired on NHK Jun. 22 (Sun)

Continuing from the previous episode, Ōgiya escorts in his trump card (oku-no-te, 奥の手), introducing Kameya (亀屋), son of a frequenter to his bordello. Ōgiya explains that Kameya will buy the land in his own name, and then lend it to Tsutajū to establish his bookshop there. When Tsutajū questions why Kameya is willing to participate in this subterfuge, Kameya admits that it’s in exchange for clearing the debt with the bordello. Tsutajū suspects that their ruse will be readily uncovered, but Ōgiya assures him that they’ll deal with the minutia later, and to leave the rest up to them.

At the Hitotsubashi estate, Harusada is plucking an Ezo mouth-harp while conversing with Okitsugu. Okitsugu asks Harusada about the Matsumae’s flower-viewing banquet not yet being held. Harusada tells him that Matsumae is very busy, moreover the Ezo territory is quite a bother. Okitsugu is curious to know in what way. Harusada looks over to Okitsugu, asking him if he has a particular interest in Ezo. Okitsugu tries to nonchalantly answer that it’s just because he has had more opportunities to see Matsumae of late.

Back at Okitsugu’s, Miura is strumming away on the mouth-harp. Okitsugu is telling his son about his meeting with Harusada, and Okitomo comments so that’s where you received the Ezo mouth-harp. Okitsugu tries to ask how the enquiries are coming along in kamigata, but with the sound of the mouth-harp too distracting, he yells at Miura that he’s too noisy. Miura abashedly apologizes, saying that he just got carried away because it’s just too much fun. Tōsaku reports that although there are nishiki fabrics from Ezo in circulation there, it’s difficult to acquire proof of illicit trade through the merchants. Okitsugu ask him if he can’t find anyone to betray their source (ne’gaeri, 寝返り). Tōsaku suggests that the story might be different if they could promise them compensation once the Ezo land is commandeered, but if they aren’t careful, it would only lead to their own maneuvers being revealed. Okitsugu then asks about the Ezo map that has the illicit trade demarcated. Tōsaku tells him that rumor has it that it’s locked in a storehouse of the Kishū House (紀州様の蔵), but he doesn’t know if that’s true or not. Okitsugu complains that their endeavors are closed on all fronts (八方塞がり), and Tsuchiyama apologizes for their lack of results. Tōsaku suddenly offers that there is one person he’s gotten close to, a cargo-boat merchant (kaisen-donya/doiya, 廻船問屋) , who might be of help in the future. Okitsugu is not impressed.

Later Okitomo visits Tagasode at the Daimonjiya bordello. Sitting beside her, he murmurs that it’s not progressing in the slightest bit. Tagasode, agreeing with him, recounts her meeting with Matsumae Hirotoshi the other day. Hirotoshi had brought several of his scroll paintings to show her, unrolling them on the tatami mats, telling her she could have whichever ones she wanted. She tells him she’s pleased with the paintings, but what about the amber. Sighing, Hirotoshi tells her apologetically, that he just doesn’t think he can do direct trade with Russia. It’s only the merchants who know where to reach the Russian traders dealing in amber. Although Tagasode suggested he buy someone off to give him the information, Hirotoshi countered that he had no idea how to find such a person. Tagasode sums it up for Okitomo, saying that she doesn’t think Hirotoshi will be able to accomplish a direct-trade.

At the Kōshodō, Tsutajū is telling Utamaro and Hanjirō (the soba guy) about the bigwigs’ scheme to set him up with a bookshop in Nihonbashi. Tsutajū confesses to Utamaro that he just doesn’t think it will go well, and soon he will be found out that he went behind their back to start his business. Hanjirō reminds him that Yoshiwara people aren’t allowed to buy land in the city. Tsutajū would like to find an amicable way to acquire the Maruya. Utamaro suggests presenting Maruya as a great sponsor of the Tsutaya, but Hanjirō comments that in reality the Maruya is a bitter rival (ada, 仇) of the Tsutaya. Jirobei suggests the excuse, less than seriously, that the Maruya simply likes the books produced by Tsutajū.

Somedays later, the VIPs of the Nihonbashi bookshops gathered to consider Kameya’s offer to purchase. As Tei holds the document, Murataya (村田屋) says, if Kameya comes to us, it would only increase the prestige of our avenue. Tsuruya, seated beside her, wonders aloud why a tea retailer (茶問屋) would want to come to the Tōriaburachō (通油町) part of Nihonbashi, where there’s only hardware shops (kugiya, 釘屋) and bookstores. Kameya says that his father told him that, exactly because there are no other such [competing] shops, he should come and buy it. Tei says she would like to clarify just one thing, why is the signature on the document not his father’s but his own. Kameya explains that out of filial piety, he wanted to surprise his father with the purchase. Hearing that excuse, Tsuruya starts to look dubious. Tei continues, but didn’t you just say your father told you to come and buy it? Tsuruya, at the point, softly interrupts, and speaking to Kameya asks, you wouldn’t by any chance have acquired a substantial debt in the Yoshiwara?

〈After Opening Sequence〉

Back at the meeting room of the Nihonbashi shop owners, they are passing around a bound notebook detailing the Yoshiwara subterfuge trying to attain the Maruya. Matsumuraya Yahei (松村屋 弥兵衛) wonders if it can possibly true that the Yoshiwara tried to buy the Maruya behind their backs. Murataya assures him it’s true, that Yoshiwara sent someone else [Kameya] to buy it for them. Matsumuraya exclaims, what a dirty trick! But Tsuruya calmly explains, they are “heartless bastards” (bōhachi, 亡八), [the derogatory term used for bordello owners]. He further adds, neither Yoshiwara nor Tsutaya Jūzaburō are capable of considering any other means.

But one of the members asks, but doesn’t Tsutaya now have a good reputation? And another [Kugiya, 釘屋] adds, would it really be so bad if he came here? Tsuruya just shakes his head sadly reminding them that it was determined in An’ei 7 (1778), that the Yoshiwara was not to be allowed to purchase an estate within the Mitsuke (見附) area, and the city was not to sell to them. Tsuruya further adds that if they allow a Yoshiwara presence, even though still part of Nihonbashi, the prestige of the Tōriaburachō area will be damaged.

Matsumuraya leans over to Tei [proprietress of the Maruya], asking her if there’s something she might like to add. All straighten up to hear what she has to say. First, she apologizes for all the trouble her household has caused, bowing down low. The ever-learned Tei, then quotes an adage by the Chinese philosopher, Han Fei (韓非子): A dike of a thousand feet can be toppled by a mere ant’s nest (千丈の堤も、螻蟻の穴を以て潰ゆ). Allowing Tsuta Jūzaburō’s shop in, is the same as an ant’s nest, and will lead to the decay of the town. This decision will determine that fate of the town. Before the discussion could continue interminably, Tsuruya interrupts to say, the best solution is to quickly find a buyer. Adding, if anyone knows a likely purchaser, please tell him directly.

Back at the Surugaya, all the bigwigs have circled around Tsutajū trying to come up with a plan of how to proceed. Ritsu declares, like stepping on a sleeping snake. Thanks to Kameya’s blunder, they were reminded of that ruling (o’tasshi, お達し). Ōgiya exclaims what a loss of face (menboku-ne, 面目ねえ), and Daimonjiya regrets that his father went off on a tirade way back when. Wakigiya reassures him, it’s too late to worry about that now. Surugaya then asks Ōgiya what’s the next plan. Tsutaju suggests, surely there is a number of Yoshiwara patrons from Nihonbashi who could lend their support. Matsubaya tells him that he tried asking a patron, but was rebuffed with the words, “there’s that thing” [the ruling].

Tsutajū wonders, so is there no way to entice Maruya to want to sell to us? Chōjiya (丁子屋) chides him for being a dopey fool (neboke, 寝ぼけ), telling him that it’s his fault it went out of business in the first place. Tsutajū, concurs, but then asks what about if the offer twice as much. Ōgiya tells him, that’s fine if you’re willing to double your own debt.

Wakagiya wonders if there still isn’t something they could do, like offering the Maruya proprietress something she wants so badly that she couldn’t turn it down. Tsutajū offers, like something anyone would want, like longevity medicine? Daimonjiya suggests, like a magic mallet that delivers your heart’s desire (打ち出の小槌(こづち)). Ritsu exclaims, like a man?! They all turn to Tsutajū, and Wakagiya tells him, he could try to seduce her. Daimonjiya agrees that she would definitely fall for Tsutajū. Ritsu brings them back to their senses, telling them to forget about that. Matsubaya agrees that it’s nigh onto impossible. Tsutajū taking affront, declares that he’s become popular, after all he’s “the foremost impresario of Edo.” Completely ignoring Tsutajū, Surugaya turns to Ōgiya and asks what’s their next step. When Tsutajū is still argumentative about it, Chōjiya (丁子屋) asks him if he’s ever made a woman fall for him, and everybody breaks out in laughter.

Walking back to the Kōshodō, Tsutajū is still grumbling to himself about the bigwigs’ assessment of his charms. Entering, he finds Tōsaku taking to Utamaro, and as Utamaro gets up he gives Tsutajū the souvenir of salted kelp (shio-kobu, 塩昆布) that Tōsaku had brought. Tsutajū asks him if he’s come back from kamigata, and Tōsaku says he was just there on a boorish errand (yabo-yō, 野暮用), but he’s heard that Tsutajū is trying to get into Nihonbashi. Tsutajū abruptly asks him if he knows what kind of person the Maruya proprietress is. Tōsaku tells him that he has no association with the Maruya. Tsutajū then asks if he knows of anyone who might know her well. Tōsaku suggests Shigemasa, before hearing people walking by outside and running off to join them.

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Back with Tagasode at the bordello, … …








[In Process …]




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NHK Synopsis of upcoming eps. 25: 「灰の雨降る日本橋」　
https://nhkworldpremium.com/en/episode/366292

Historical Drama "UNBOUND" Eps. 25
・Sun, Jun. 29　20:00-20:45
[R] Mon, Jun. 30　5:00-5:44　[R] Sat, Jul. 5　13:05-13:50

While Tsutaju hesitates to expand into Nihonbashi, a major eruption of Mt. Asama causes ash to fall and accumulate across Edo. Seeing this as an opportunity, Tsutaju visits Tei and proposes that they protect the shop together from the falling ash. Around the same time, Hirotane visits Daimojiya, expressing his desire to move forward with concrete business negotiations.


第25回「灰の雨降る日本橋」
≪あらすじ≫
柏原屋から丸屋を買い取った蔦重（横浜流星）は、須原屋（里見浩太朗）の持つ「抜荷の絵図」と交換条件で意知（宮沢氷魚）から日本橋出店への協力を取り付ける。そんな中、浅間山の大噴火で江戸にも灰が降り注ぐ。蔦重は通油町の灰除去のため懸命に働く。その姿に、門前払いしていたてい（橋本 愛）の心が揺れる。一方、意知は誰袖（福原 遥）に心ひかれ始める。松前廣年（ひょうろく）は抜荷の件で大文字屋（伊藤淳史）を訪ねる...。

＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 23 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 23: I, Tsutajū, Foremost Impresario of Edo「我こそは江戸一利者なり」
(originally aired on NHK Jun. 15 (Sun)

At the fox shrine under dark, as it started to lightly snow, Okitomo had confided in Tsutajū about his plans to commandeer the Ezo province for the government, and invited Tsutajū to participate in his endeavor. After considering it for a moment, Tsutajū turns down his offer with the excuse that he is too busy with his own endeavors. Okitomo tells Tsutajū to let him know if he changes his mind, and not let a word of it out to anyone else, adding that it’s for the sake of the oiran as well. Tsutajū wonders about this “for the sake of the oiran.”

At the Daimonjiya, Tsutajū goes to see Tagasode wondering why she had asked him about “illicit trade” (nuke’ni, 抜荷). She laughingly explains that it’s just because she has free time on her hands, and thought to work on an aobon book. Tsutajū demands to know what she has gotten herself involved in, and what she is doing with “Hana no Kumosuke” (Okitomo), and she retorts smirking that there’s only one thing done in a bordello. Exasperated, Tsutajū is about to report her goings-on to Daimonjiya (the 2nd), when Daimonjiya himself walks into the room with suggestions about the nuke’ni, (said as “NU-ku-KE-ke-NI-ki” in the Yoshiwara style of Pig-Latin), and the profits to be made from it. Tsutajū warns Daimonjiya that it can get them into seriously trouble, but Daimonjiya is too intoxicated by the profits to be made, telling Tsutajū that he can’t let such an opportunity slip out of his hands, what with the revenue gained from Tagasode’s “mi’uke,” let alone the prestige it will bring to the Daimonjiya. Ignoring any further discussion with Tsutajū, Daimonjiya goes back to talking to Tagasode, and Tsutajū turns away leaving in disgust.

At Suwaraya’s, he has redone a room in the Western style with a red carpet and table and chairs. Tsutajū has come to pick up 100 copies of the kyōka anthology, Manzai kyōka shū (万載狂歌集) edited by Yomo no Akara (aka Nanpo) and Akera Kankō, [published by Suwaraya in 1783]. Suwaraya warns Tsutajū that he shouldn’t place it in his store front, since it’s a bit like nuke’ni illicit trade. [The town bookshops are still not supposed to be dealing with Tsutajū.] Tsutajū then asks Suwaraya what he knows about the Ezo province, since he’s thinking about a topic for an aobon. Suwaraya then shows Tsutajū a map of Ezo, pointing out where the Matsumae estate is located and where Russia is to the far top of the map. Tsutajū asks what a certain symbol means, and Suwaraya whispers the answer to him.

[In addition to the meaning of the secret symbol, one might also wonder how Suwaraya got hold of the Ezo map in the first place, as well as where he is getting his fancy foreign goods …]

〈After Opening Sequence〉

At an event for kyōka aficionados, with the great success of his kyōka poem anthology, Nanpo is writing autographed poems on fans for the crowd, with attendees from the elderly to children. When one of the children demands to know why is name is “red,” the “aka” of his artist name Akara (赤良) meaning red, but he himself is not red, Nanpo paints two circles in red on his cheeks to amuse them.

Elsewhere, Tsutajū is celebrating his success with all his many publications that year at party of sumo wrestlers. One sumo wrestler proudly holds up one of Tsutajū’s books, the Kotobuki shio akinai konrei (壽鹽商婚禮) written by Nanpo and illustrated by Kitao Masayoshi（北尾 政美, showing it off to Tsutajū. Tsutajū has now gained the reputation as the foremost impresario of Edo (江戸一の利者), or alternatively translated as Edo’s most discerning connoisseur, and aobon have now come to be called kibyōshi, [the date 1783, according to NHK].　

The Kotobuki shio akinai konrei (壽鹽商婚禮), republished a year later under the alternative title of Koitsu wa nippon (此奴和日本) in 1784. TOP: An illustration of Tsutajū’s Kōshodō on the left page, and notice also Tsutajū’s shop crest at the top of the page; BOTTOM: cartouches of Yomo, aka Nanpo, as the writer (四方 作) and Kitao Masayoshi as the illustrator (北尾政美 画). ＊Click images to enlarge
https://dl.ndl.go.jp/pid/9892502/1/7　 https://dl.ndl.go.jp/pid/9892502/1/12

Ritsu, along with Surugaya, comes to the Kōshodō to speak with Tsutajū, and notes that even Fuji is there to help out. Ine explains that Tsutajū is in high demand and out to a patron party for a Tayū [likely a male performer of shamisen or chanting], followed by a sumo viewing, then for a consultation on the next Tomimoto book, and later Tsuchiyama’s banquet party. As he walks away, Surugaya grumbles, what a boy wonder (fu’unji, 風雲児)！

However, the real boy-wonder or rising star is Tanuma Okitsugu, who now has all his ducks in a row and the members of his faction positioned. As the samurai personnel watching from the shogunal archives see Okitsugu’s retinue strut through the wide corridor of the castle, they mumble to each other that this time the shogun has really gone to far [no doubt in his support of Okitsugu and the arrangements made in regard to the heir]. Sano Masakoto (佐野政言), now newly promoted to the “Department of Proper Etiquette and Gift Exchange” (Shinmotsuban, 進物番), steps in and asks what Hasegawa and the others there are up to, and Hasegawa shows him Tsutajū’s Hama no Kisago, a kyōka tutorial written by Moto no Moku’ami with an introduction by Nanpo. He explains that they want to learn about kyōka to establish a connection with Tsuchiyama, [now chief financial officer of the shogunal treasury (Kanjō-kumi kashira, 勘定組頭) and part of Okitsugu’s faction].

[Hasegawa is still part of this same department as before and hasn’t received a promotion despite his help in investigating the “poisonous glove” incident. Sano Masakoto is the one who brought the scroll of a family lineage to Okitsugu, which he threw in the pond, back in eps. 6.]

Tsuchiyama has built a new palatial mansion, called the Suigetsurō (酔月楼), and is holding a banquet party there in the evening, with the major aficionados and connoisseurs of Edo attending. Arriving in tow with Sano, Yokoyama, and Tatekawa, Hasegawa finds it unbelievable that such extravagance could be built with just the stipend of 350 bales (tawara, 俵) of rice. It’s so crowded that they can’t reach Nanpo or Tsuchiyama, but Hasegawa spots Tsutajū over drinking with Izumiya (和泉屋), who asks Tsutajū if he’s thinking of opening a book shop in Nihonbashi.

Hasegawa works to his way over to Tsutajū, and showing him Tsutajū’s kyōka tutorial book Hama no Kisago, asks if he could arrange a chance to meet Tsuchiyama. Tsutajū leads the three around a circuitous back route to get to Nanpo and Tsuchiyama. There, Nanpo immediately recognizes Hasegawa as the son of the Arson and Robber Bureau Director, and for his ostentatious flamboyant acts in the Yoshiwara [paying 30 ryō, that he could ill afford, to have Hana (Segawa) illustrated in Tsutajū’s pictorial book of the Yoshiwara oiran, etc.]. Tsuchiyama asks him if he’s taken up with practicing kyōka, and Hasegawa says he’s thinking of it, but would first like to ask Akara (Nanpo) for an artistic name that would make him popular with women. Punning with the poet’s name Ariwara no Narihira, Nanpo immediately comes up with “Arikanewa Nakihira” (あり金は無き平), meaning Hira (a different pronunciation of the “hei” character of Hasegawa Heizō) is a popular man even though without money. Yokoyama and Tatekawa also introduce themselves asking for artistic names. However, Sano feeling left out, begs offs telling Tsutajū that he must get home to look after a sick parent.

Tsuchiyama takes Tsutajū aside, telling him that he heard that Tsutajū had declined Okitomo’s offer to join in their endeavor, insisting that it’s an opportunity to profit from many angles, such as selling books in Ezo. When Tsutajū says that’s too great an ambition for a Yoshiwara bookshop, Tsuchiyama offers to buy him a bookshop in Nihonbashi, explaining its advantages like for promoting his books like Akara’s. Tsutajū wonders if he is really serious, or just making fun of him.

＊＊＊　＊＊＊　＊＊＊

Back at the Kōshodō, taking a pipe in hand, Tsutajū tells Utamaro about Tsuchiyama’s offer to buy him a bookshop in Nihonbashi. Utamaro retorts that everyone is saying that of late, about opening a shop in Nihonbashi. Tsutajū says, but Tsuchiyama offered to lay out the money for it, and Tsutajū only has to pay the annual taxes on it from his profits. Utamaro warns him that the only one to gain advantage from that is Tsuchiyama himself, and that it’s because the “Foremost Impresario of Edo” is located outside the city in Yoshiwara, that he’s considered chic (iki, 粋). Tsutajū asks, what about if he comes this shop as is and just opens another in Nihonbashi. Utamaro refuses to get on board, only telling him that Surugaya has something to discuss with him. Tsutajū hopes it’s about opening a shop in Nihonbashi …

The following day, Tsutajū is summoned to Surugaya’s. There, Ritsu hands him a bundle of papers with names and requests written on them, such as gifts bags designed by Tsutajū, and even a request for a kyōka anthology published in celebration of someone’s grandchild. Ritsu insists that it would be good for increasing the reputation of the Yoshiwara, and for Tsutajū himself as well. When Tsutajū says he, as well as his authors and illustrators, are just too busy, Surugaya angrily tells Tsutajū that he’s getting too big for his britches. Formerly, Tsutajū would have jumped at the chance, and lest he forget, he’s only gotten this far due to the support of the Yoshiwara; if the Yoshiwara withdrew its support, Tsutajū’s business would fail within a day. Tsutajū grudgingly agrees to do it, which only irks Surugaya all the more. Ritsu tries to pacify Surugaya saying it’s only because Tsutajū is so busy, and she turns to him and says just do what you can.

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In the evening at the Daimonjiya, Tsuchiyama is talking to Okitomo in a private room, discussing the advantages of buying a bookshop for Tsutajū in Nihonbashi, and also the profits to be gained through that in relation to the Ezo territory. Hearing Tagasode talking to Matsumae Hirotoshi in the room next door, the two move closer to spy through a gap in the sliding paper doors. Daimonjiya is with them, asking Hirotoshi if he can attain a large quantity of amber so that the jorō can all have matching accessories made of it. When Hirotoshi agrees to try to do what he can, but it is very expensive, Daimonjiya leaves to slip into the private room next-door to watch with Tsuchiyama and Okitomo.

Tagasode is encouraging Hirotoshi to cut-out the middlemen to get the amber cheaper, but Hirotoshi angrily rejects such an act of “illicit trade” (nuke’ni, 抜荷) out of hand. Tagasode starts to cry and says she only thought that if he had more money he could come see her more often. When he tells her not to cry, he’ll think of something, she hugs him while turning her eyes to the sliding doors and looking toward Okitomo, and says she’s so happy that now she can be soon bought out (mi’uke) from the Yoshiwara.

＊＊＊　＊＊＊　＊＊＊

At the Kōshodō, Utamaro is busily painting round-fans per the requests Surugaya and Ritsu had given Tsutajū. Chūgorō is there to discuss the revising of the Yoshiwara Saiken guidebook with Tsutajū, and is surprised that Tsutajū is still doing commissions for piecework. Tsutajū explains it can’t be helped, since it’s at the request of the Yoshiwara bigwigs. Chūgorō mentions to Tsutajū that he’s heard that a bookshop across from the Tsuruya in Nihonbashi is supposed to be coming up for sale. Tsutajū, momentarily excited, asks how much it would sell for, but when told about 1000 ryō, he’s disappointed at the impossibility. Chūgorō suggests he asks the Yoshiwara bigwigs to lend him the money, but Tsutajū thinks that’s unlikely to happen and imagines if only the request would come from Nihonbashi itself, for the presence of the “Foremost Impresario of Edo.” Utamaro warns him that it would be best not to even ask. Just then Ritsu comes to summon him, saying some VIPs from Nihonbashi wish to consult with him.

At Surugaya’s, much to Tsutajū’s disappointment, it is the clothiers (gofukuya, 呉服屋) of Nihonbashi who have come to make a request, rather than the VIPs of the Nihonbashi bookshops he had hoped for. Seated before the head of the clothiers, Nihonya Hikotarō (日本屋 彦太郎), with Surugaya and Ritsu behind him, Tsutajū is even more disappointed when he hears the request. The clothiers would like the help of the Yoshiwara to boost the sales of Nishimuraya’s “Hinagata Wakana” print series, before conceding, and maybe Tsutajū’s own “Seirō Meikun Jihitsu Shū” (青楼名君自筆集) series after that. [These print series are basically fashion plates with the oiran serving as the models advertising the latest styles].

Tsutajū wants to know why it must be Nishimuraya’s series first and not his own print series, which the clothiers don’t even have to pay for since the cost is covered by the Yoshiwara. The clothier explains that it’s because Tsutajū’s doesn’t sell as well. When Tsutajū says that it’s actually selling quite well in town, the clothier counters but what about outside of the town. Ritsu asks Tsutajū about that, and Tsutajū says he could probably use the same channels to the countryside as he uses for his learner-books. The clothier says, that’s the difference right there. Bookstores throughout the land order from Tsuruya and Nishimuraya, not just from Nagoya, or Kyōto and Osaka, but even as far north as Sendai. At which, Surugaya mumbles bitterly to himself, as always, a weak spot left vulnerable (いつまでも、脇が甘い).

Ritsu asks Tsutajū, are you willing to lend a hand? Since it would be good for the oiran themselves and Yoshiwara overall. Tsutajū, really not wanting to be a servant to Nishimuraya’s business again, asks the clothier, if he can distribute his series outside of Edo, would the clothiers accept the promoting of his series instead of Nishimuraya’s? The head clothier asks for some time to consider the matter, and collecting up the examples of both series, the clothiers depart.

TOP: Nishimuraya’s “Hinagata Wakana no Hatsumoyō” (雛形若菜初模様・中あふミや内万太夫), illustrated by Koryūsai (TNM collection), Nishimura’s “Eijudō” (永寿堂) publisher’s seal.
BOTTOM: Tsutajū’s ““Seirō Meikun Jihitsu Shū”” (青楼名君自筆集), illustrated by Kitao Masanobu, 1784.
https://bunka.nii.ac.jp/heritages/detail/526293　https://dl.ndl.go.jp/pid/1288343/1/7

After they leave, Surugaya has a tirade about Tsutajū only working to his own advantage. Ritsu adds, that’s right, it would be to the advantage of the Yoshiwara to promote both series. Tsutajū retorts that it’s only natural that he tries to promote his own productions. Surugaya yells back at him, the Tsutaya only exists because of the Yoshiwara. Tsutajū retorts that recently someone else has offered him financial support. Surugaya stands about to slap Tsutajū down, when Daimonjiya and Chōjirō enter the room wondering what all the loud fuss is about.

Chōjirō tells them that the retired Izumiya has died, and the funeral (tomurai, 弔い) is the next day. Tsutaju had just seen Izumiya the other day at Tsuchiyama’s Suigetsurō palatial mansion, where Izumiya had asked Tsutajū if he was thinking of opening a bookshop in Nihonbashi. Ritsu says, unsure of what to do, since many would be offput by the attendance of people from the Yoshiwara. Chōjirō tells them than Izumiya’s son specifically asked them to attend to see off his father, since his father was so fond of the Yoshiwara. Chōjirō turns to ask Tsutajū if he will come too, but before Tsutajū can answer, Surugaya angrily retorts that Tsutajū doesn’t have time for it since promoting his own productions is more important to him than his longtime sponsors who have supported him. Tsutajū sullenly replies, then I’ll do just as you say, before leaving them.

On his way to Suwaraya’s, Tsutajū passes by Nishimuraya’s and stops a random person on the street, showing him a print from Tsutajū’s series, and asking him what he thinks of it. The courier is immediately reminded of Nishimuraya’s series, and asks him how it is selling. Disappointed, Tsutajū stops another courier, but he just brushes him off and enters Nishimuraya’s to pick up copies of Nishimuraya’s “Hinagata Wakana” series.

At Suwaraya’s, he tells Tsutajū that it just won’t work to try to use the same channels that he uses for his books (shomotsu, 書物) to distribute his nishiki-e prints. Suwaraya sits Tsutajū down, and explains to him that if he opened a bookshop in Nihonbashi, then he could distribute his prints throughout the country in the same way as Nishimuraya and Tsuruya. Since having a bookshop in Nihonbashi is prestigious, merchants come right to them making orders. The increased distribution would benefit his authors and illustrators too. Tsutajū tells him that if he did that, he’d anger the Yoshiwara bigwigs losing their support, and would also lose the Saiken and other commissions for events (saiji, 催事) from the Yoshiwara. Gennai insists that he himself would like to see Tsutajū open a bookshop in Nihonbashi, and for Gennai’s sake as well, which reminds Tsutajū of Gennai telling him that he makes the most interesting productions in all of Edo. Tsutajū looks out at all the sundry people on the street busy with their activities, recalling Gennai’s explanation of the meaning of the “Kōshodō” name, that the spread of his publications would “make the world a more bounteous place.” On his way home after leaving Suwaraya’s, Tsutajū passes by the funeral across the river, clasping his hands in prayer for Izumiya.

Inside at the funeral, the Yoshiwara bigwigs, dressed formally in black crested garments, are seated at the back, while the other attendees whisper to each other about their presence. Izumiya’s chief clerk comes politely requesting them to move, since some attendees have said they’ll leave if they have to be in the presence of people from the Yoshiwara. Ritsu tells him that she had confirmed whether they were really welcome, and it’s the son who had invited them. Nevertheless, Ōgiya agrees that they will move, and they are seated just outside, on the ground covered by only a thin mat, when it starts to rain just as the sutra-reading begins.

Meanwhile at the Kōshodō, Tsutajū is staring at his Ah~ O’Edo (嗚呼御江戸) Saiken that he had published with Urokogataya [see eps. 2]. When Utamaro asks him why, Tsutajū explains that Izumiya has died, once again recalling Gennai’s explanation of the meaning of the “Kōshodō” name. Tsutajū explains that it all started with Izumiya, back when Tsutajū had followed Izumiya into Tanuma’s to ask for help to save the Yoshiwara.

On the street outside, there is a loud to-do as the bigwigs return from the funeral, and Chōjirō has slipped and fallen in the rain. Tsutaju runs outside to help and tries to wipe him off, while asking what happened since they’re soaked to the bone despite carrying umbrellas. Ritsu answers, same old thing, they were treated with prejudice as always. Tsuju just stands there in the rain dumbfounded as he watches them walk off towards the gate.

Recalling Segawa telling him at her departure that it’s now all up to him, now back inside he looks at the illustration of Segawa from his Seirō bijin awase sugata-kagami (青楼美人合姿鏡). [See post, Tsutajū’s “Mirror of the Beauties of the Pleasure Quarters” (Seirō bijin awase sugata-kagami, 青楼美人合姿鏡)]. He then reaches for his letter box, taking out Gennai’s inscription of the “Kōshodō” name that he’d written for him. Utamaro then brings him a cup of tea, reassuring Tsutajū that whatever happens, he’ll always be beside him. Tsutajū smiles fondly, before drinking up his tea.

The following day at Surugaya’s, the bigwigs are discussing their poor treatment at the funeral. Complaining that though they are disparaged for living off the bodies of women, rather they should be thanked for taking in impoverished women, since no one else will take care of them, supplying them with food and board and a way to make a living. When Tsutajū enters, Surugaya sarcastically asks him if his nishiki-e prints have suddenly found a way to flow throughout the country. Tsutajū replies that he has something else that he’d like to discuss with them. Told to make it short, Tsutajū sits before Surugaya and Ōgiya and tells them he’s like to open a bookshop in Nihonbashi. Wakagiya demands to know what would then happen with his Yoshiwara bookshop. Tsutaju says that there are many possibilities, he could leave it to someone else to look after, or simply close it down.

Infuriated, Surugaya kicks Tsutajū over, then pulling him up by his lapels, yells at him, You’re the Yoshiwara bookshop! Surugaya then drops him back down, kicks him in the face, and throws him out. Then yelling, who do you think got you this far?! There’s a limit to being an “heartless bastard” (bōhachi, 亡八)! Surugaya kicks him down the stairs. Fuji looks up from below in worry, helping Tsutajū up.

Tsutajū yells back, you may say I’m bōhachi, but there’s no more filial son than me. That the Yoshiwara will now have a bookshop in the center of Nihonbashi… Tsutajū continues as he tucks his kimono up into the back of his obi and starts to walk up the stairs, … my success will serve as proof of how diligently I was raised, adopted and brought up in the Yoshiwara, and how charitable the Yoshiwara is, demonstrating that the value of a person is not in their birth or what family they come from. This is how I will return the favor for all you’ve done for me!

Reaching the top, Tsutajū bows before all the bigwigs staring down on him, and begs them, please take a chance on me. Ritsu asks him how he thinks he can succeed, as a person from the Yoshiwara. Tsutajū says smiling that he can succeed because he has Utamaro, Maa-san, Harumachi-sensei, Akara-sensei, Shigemasa-sensei, Masanobu-sensei, the Tayū, Sanna (三和), Enjū (燕十), and recently Masayoshi (正美) – they are all the very best. The only thing I don’t have is Nihonbashi. Surugaya sighing, just stares at Tsutajū dumbfounded.

＊＊＊　＊＊＊　＊＊＊

At the Sano estate, Sano Masakoto helps his father up leading him to a blooming cherry tree in their garden. His elderly father asks him when will it bloom, and his son sadly tells him it already is.

Around the same time, the Maruya bookshop, across the street from the Tsuruya, has come up for sale. At Tsuruya’s, the proprietress of the Maruya tells Tsuruya that she would like it to go to someone who would benefit Nihonbashi, and absolutely under no circumstances is it to be sold to Tsutaya Kōshodō of the Yoshiwara, not even for 10,000 ryō.

Back at Yoshiwara, the bigwigs are discussing the situation of the Maruya bookshop. According to rumor, some say it’s Tsutajū’s success with his “ōraimono” learner-books that drove it out of business. However, according to Matsubaya and Ōgiya, what really happened is the adopted husband of the proprietress drove the business into financial ruin with his visits to Hana’ōgiya at the Ōgiya bordello. Tsutaya, rather optimistically, wonders whether the Maruya would be willing to sell it to him. Surugaya tells him that it’s not just the Maruya, but no one [in town] would sell to someone of the Yoshiwara. Chōjiya reminds Tsutajū that the Bugyōsho (奉行所) town court resolved that town land is not allowed to be sold to people of the Yoshiwara. Just then Ōgiya enters, bringing someone along with him, saying he’s found a trump card (oku-no-te, 奥の手) … …


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NHK Synopsis of upcoming eps. 24: 「げにつれなきは日本橋」　
https://nhkworldpremium.com/en/episode/366292

Historical Drama "UNBOUND" Eps. 24
・Sun, Jun. 22　20:00-20:45
[R] Mon, Jun. 23　5:00-5:44　[R] Sat, Jun. 28　13:05-13:50

With the support from the elders in Yoshiwara, Tsutaju begins preparations to purchase a shop in Nihonbashi. However, Tei (Hashimoto Ai) of Maruya refuses to sell, unwilling to accept Tsutaju because of his origins in Yoshiwara. Meanwhile, Tagasode connects Tosaku and Hirotane to gather evidence of smuggling by the Matsumae Domain.


第24回「げにつれなきは日本橋」
≪あらすじ≫
吉原の親父たちの支援のもと、日本橋に店を購入する準備を始める蔦重（横浜流星）。しかし、丸屋のてい（橋本 愛）は、吉原者の蔦重を受け入れず、店の売却を拒否する。蔦重は、東作（木村 了）や重政（橋本 淳）に何か打開策はないかとたずねるが…。一方、誰袖（福原 遥）は抜荷の証しをつかめていなかった。意知（宮沢氷魚）は、次の一手に東作と廣年（ひょうろく）をつなぎ、琥珀を直接取り引きする話で誘いを謀る…。

＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 22 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 22: Self-humiliation through drunken cavorting「小生、酒上不埒（さけのうえのふらち）にて」
(originally aired on NHK Jun. 8 (Sun)

As seen previously, Okitomo (Okitsugu’s son) meets with Tagasode at the Yoshiwara, since she’s heard that he’s looking for proof of illicit trade (nuke’ni, 抜荷) taking place in the Ezo province (Hokkaidō). Okitomo thinks that she’s just after money, but she says that she wants something more than that … … him, to buy out her contract (mi’uke, 身請け), since she thinks he’s a gift from the gods. Okitomo doesn’t want to use her as a spy because it is too dangerous, but she insists she can garner information from Yoshiwara visitors associated with the Matsumae house. Okitomo then chides her that revealing information overheard from her customers is beneath her, and will lower her standing as an oiran, is she that type of woman?

Okitomo pays a visit to Tsuchiyama, and tells him about Tagasode. Tsuchiyama reports to Okitomo on how the search for the diagram (ezu, 絵図) of the illicit trade is going, and what he learned from Minato Genzaemon [aka “Ezo no Sakura”, formerly a commissioner of finance (kanjō bugyō, 勘定奉行) before being removed from his position by Matsumae]. Accordingly, clamor about the “ezu” diagram abounds around Kamigata [the western region around Kyōto and Ōsaka], so Tsuchiyama sent Tōsaku off to search for it there.

While Tōsaku is off traipsing through woods enroute to Kamigata, at the Tanuma estate, Okitomo explains to Okitsugu that he’s learned that the merchants involved in trade with the Ezo [Ainu] are mostly from Ōmi (near Kyōto). In addition to searching for the “ezu” diagram, Tōsaku is also looking for anyone involved in or with knowledge of illicit trade with Matsumae. Okitomo then turns to Miura, requesting him to summon the doctor Kudō Heisuke (工藤 平助, 1734-1801), somewhat perplexing Okitsugu.

Somewhat later, Kudō arrives a bit fearful of why he’s been summoned. Okitomo asks him if he knows a certain Minato, who said he helped him with his book, the Aka Ezo Fūsetsukō (赤蝦夷風説考). Kudō defends himself saying that he just wrote that book for his own amusement. Okitomo assures him that he’s not in any trouble, he just wants his thoughts on Minato’s removal by Matsumae, and how that might relate to the illicit trade. Kudō is hardly reassured, rather he’s made all the more anxious.

Meanwhile at the Kōshodō, the author Tōrai Sanna (唐来 参和, 1744- 1810) is amusing Tsutajū with a story about how a Shinto deity put the “three imperial treasures” in hock to pay for cavorting in the Yoshiwara. [There is a similar Edo period book, I just can’t remember the title at the moment. It is, though, hilarious. Edit: I’m probably thinking of the Hijiri no yūkaku (聖遊廓, publ’d. 1757).] Tsutajū sees Utamaro looking forlornly at Harumachi’s broken brush, and comes over to him concerned. Utamaro tells him that it’s been ten days since then, isn’t it about time Tsutajū pays a call to see how he’s doing, recalling the party for Utamaro where Harumachi had a tirade, and breaking his brush, declared that he was done with writing.

Over at Harumachi’s, he’s surrounded himself with leafs of papers all with the character for fart (he, 屁), recalling the circle dance with Nanpo and the others all chanting “Hey ~” for the rhythm. Just then, Tsutajū’s arrival is announced …

〈After Opening Sequence〉

Tsutajū arrives at Harumachi’s, requesting him to illustrate Kisanji’s latest work, and also a new gesaku by Harumachi himself. Harumachi reminds Tsutajū that he broke his brush and quit writing. Tsutajū assures him that it was just a drunken tirade, and not only did no one pay any mind, they thought it was hilarious and want to party with him again. Harumachi retorts that, he does not want to associate with such people. Tsutajū chides him that there’s no reason to call them “such people,” borrowing ideas from other people’s books is the norm, and calling Masanobu a thief is too unkind. He shouldn’t worry about the critique in Nanpo’s book either; that’s also just written to be amusing. Furthermore, if he really wants to get back at them, he should do so by writing a new book. Nonplussed, to say the least, Harumachi stomps out of the room.

Back at the Kōshodō, where Harumachi’s broken brush lays forlorn, Tsutajū worries that he’s failed to assuade Harumachi. Tsutajū turns to Utamaro and asks him to take over the illustrations of Kisanji’s book, but to be sure to do it in Harumachi’s style. Just then Daimonjiya II enters, taking Tsutajū off to see Tagasode.

At the Daimonjiya, he tells Tsutajū that Tagasode probably just wants to see him about her mi’uke. Tsutajū tells him he’s tired of hearing about, when Tagasode runs up and hugs him from behind. However, she wants to ask him about gathering proof of illicit trade (nuke’ni, 抜荷). After Tsutajū yells out “nuke’ni” in surprise, she takes him aside to suggest writing an aobon book on the subject. Just then Shige (the house matron) announces that a certain Matsumae Hirotoshi (松前廣年) has arrived, asking for an oiran of some stature. Hearing this, Tagasode requests to be his companion, while Tsutajū looks on perplexed.

In the banquet room, where others are boisterously playing banquet games, Tagasode sidles up to Matsumae Hirotoshi. He’s taken aback when she speaks to him, since it’s forbidden in the Yoshiwara for the first meeting, when just the mere presence of the oiran is to be enjoyed. She excuses it saying that it’s different for him, the Matsumae-no-karō [house elder, (karō, 家老)], offering him a lit pipe. Despite looking quite elderly, he’s actually the younger brother of Matsumae Michihiro. He further explains that he was sent Edo city as a child and has been there ever since, enjoying hobbies like painting while serving as the house elder. Although it seems fairly obvious that he’s a first-time visitor, Tagasode asks if he often comes to the Yoshiwara. He explains that he would like to, but his yearly stipend is not enough to afford it. Noticing his unusual bracelet, she rubs up his arm, asking what type of stone it’s made of, making him rather dumbfounded by her coquetry.

Having returned to the Kōshodō, … …Utamaro is surprised to hear of an oiran writing an aobon book, although Tsutajū tells him there was a previous example, something about a theater scandal. [Although there was the kabuki scandal of the “Ejima-Ikushima affair” in 1714, I know of no book on it by an oiran.] Utamaro then asks Tsutajū for permission to go out the next day, promising not to return late. When Tsutajū asks him why, Utamaro says it’s because he wants to meet with Maa-san (Kisanji), since he is to illustrate his book.

A panoramic view over Yoshiwara as night falls.

The next day, Utamaro goes with Kisanji to Harumachi’s. They observe a piece of paper with strange characters left on Harumachi’s desk [with the radical for fail (ushinau, 失う) written on the right side of each of the characters of Harumachi’s name]. Harumachi walks in looking despondent and demands why they’ve come. They are seeking permission for Utamaro to illustrate Kisanji’s book in the style of Harumachi, and Utamaro also wants his advice on how Harumachi would do the illustrations. Harumachi tells them to do whatever as they like, leaving him out of it. Suddenly he blurts out, asking Utamaro if he’s satisfied just making imitations in the style of others as Tsutajū asks, doesn’t he want to create in his own style. Utamaro imagining the fire at Yoshiwara, says he doubts his originals would be any good.

Kisanji asks Harumachi, then what about you, breaking your brush and giving up. Harumachi says that no one appreciates him anymore. Masanobu’s “Gozonji” (御存商売物) was far more interesting than his own “Kotoba tatakai” (辞闘戦新根) book. In comparison, his own illustrations are shoddy and his writing heavy-handed. Kisanji reminds Harumachi of his popular “Mudaiki” (無題記) book, but Harumachi retorts that’s just because of all the advice he got from others to write it, and it would have been twice as amusing if Masanobu had done it. Kisanji and Utamaro reassure Harumachi that they like the naivete of his illustrations, that’s what makes them good – it’s not a matter of virtuosity, and it’s because everyone likes his style that they imitate his works. Furthermore, it would be sad if there were no more “Harumachi” books to look forward to, and they will miss his originality like the puns that he depicted as monsters [in his “Kotoba tatakai” book.] Harumachi rejoins that his own style is too dark, a more frivolous light-hearted style would be better, sniffling dejectedly as Utamaro and Kisanji look on him supportively.

Meanwhile at the Kōshodō, Akera Kankō, Moto no Moku’ami, and Ōta Nanpo are talking to Tsutajū. Kankō is surprised to hear that Harumachi has given up writing and Moku’ami wonders if it’s because of what happened at the Ueno party for Utamaro. When Kankō wonders, did something happened there, Tsutajū murmurs, indeed nobody paid any attention to it. When Nanpo mentions that he can forget that song, Tsutajū asks him if it’s because it made him angry. Nanpo replies it stuck in his mind because he hadn’t realized that Harumachi was so versatile with sarcasm (hi’niku, 皮肉). Tsutajū imagines a couple of men enthused about a new book by Harumachi, and exclaims it’s another “didn’t see that coming!” (sō kita ka, そう来たか).

Just then Harumachi arrives with Kisanji and Utamaro, as the other three depart with the excuse that they have a meeting. Harumachi steps up into the room while removing his sword, since he is after all a samurai. Just as he is about to say something, probably to apologize for his tirade at the party, Tsutajū interrupts him asking him if he wouldn’t try writing again, this time something sarcastic. When questioned, Tsutajū further explains how Nanpo thought he was so adept at sarcasm. Although not sure they count as “sarcasm,” Harumachi then removes his papers from his breast fold to show Tsutajū. Harumachi explains that the characters describe what kind of man he is, for example the radical “love” (koi, 恋) of Koikawa Harumachi (恋川春町) paired with “fail” (ushinau, 失う), reading “lingering regrets [over love lost]” (miren, 未練). Tsutaju then sees Harumachi’s page filled with the characters for fart (he, 屁) except with one similar character for “death” (kabane, 屍), and bursts out laughing remembering Jirobei’s fart at the party, asking how Harumachi managed to come up with the idea.

Harumachi wants to do the book in the style of the learner’s book for teaching characters, the Ono no Takamura Utaji Zukushi (小野篁歌字尽). At which, Tsutajū suggests he uses the Yoshiwara as the theme for his sardonic Sino-Japanese characters. Harumachi immediately writes down the characters for “illustrated book(s)” (e’hon, 絵本) inside of the character for “gate” (mon, 門), to be read as “Tsutaya.” Or again, “before” + “gate” + “book” + “retail shop” (門の前の本の問屋), read as “hon-ton’ya,” stretching it further to “honto-iya” meaning “really hateful,” which Tsutajū thinks is hilarious.

When night falls over the Yoshiwara, Tsutajū starts taking Harumachi around to get ideas. Working on it night and day, Harumachi finally ends up at the low-class Nimonjiya bordello on the west edge of the Yoshiwara, where the women there give him several hilarious ideas for his new character compounds using the radical for money (金), such as “money + none” reading as “son” (金＋無⇒息子).

＊＊＊　＊＊＊　＊＊＊

Okitomo (known to Tagasode as “Hana no Kumosuke”) reports back to the others on his second meeting with Tagasode. There she showed Okitomo the amber (kohaku, 琥珀) bracelet she’d received from Matsumae Hirotoshi. However, he tells her it’s not sufficient to prove illicit trade with Russia, because it could have been obtained it through legal trade with the Ezo people [Ainu]. Furthermore, he asks her to stop investigating for him because it is simply too dangerous. Tagasode responds by suggesting that she encourage Hirotoshi to participate in illegal trade, so that he can have more spending money and can frequent the Yoshiwara more often. So, she asks Okitomo if he’ll let her continue with her plan, with his promise of buying out her contract (mi’uke).

Okitomo asks her why she wants so badly for him to buy her out, for surely if she just wants to leave the Yoshiwara, asking Tsuchiyama would be quicker. Tagasode tells him that he’s one of her top two favorites (一の二枚好み), and she wants to be able to gaze on his face every day. Okitomo warns her that it’s a fouler stench of brimstone (kina-kusai, きな臭い) than she imagines. Tagasode retorts that life in the Yoshiwara is an everyday hell of carnage (shuraba, 修羅場), with all the deception and scheming, and if he’s so worried, than he should protect her as the god Susanoo did for the god Lady Kushinada-hime. Okitomo concedes, finally telling her his real name, Tanuma Okitomo, and promises that if she can attain proof, then he will buy her freedom (rakuseki, 落籍).

＊＊＊　＊＊＊　＊＊＊

As the year comes to a close, it’s time to make preparations for the New Year, such as pounding rice for the NY’s rice cakes. Tsutajū holds a year-end party at the Daimonjiya for all the people who have contributed to the success of his Kōshodō. While all and sundry express their thanks to Tsutajū for the work he gave them, only Masanobu looks forlorn. He explains to Tsutajū that he’s envious of Harumachi’s humorous book of characters, the Sato no bakamura muda-ji zukushi (廓𦽳費字盡). Harumachi, overhearing, comes over to tell Masanobu that he should make his own version of it, since he’s far more familiar with the Yoshiwara, and he apologizes to Masanobu for calling him a thief, while bowing down to him. Masanobu feigns complete ignorance of the incident, and Tsutajū tells Harumachi, see, I told you that nobody paid any mind. Utamaro murmurs that the two have reconciled, and Tsutajū replies that the pair are his two best, author and illustrator. As Tsutajū looks at the two pleased, he remembers Gennai’s words about the Kōshodō name, “his publications will be groundbreaking, and make the world a more bounteous place.”

Later on, Jirobei enters playing a shamisen, while Harumachi comes down the stair naked but for a loincloth and a robe draped on his shoulders. Nanpo is immediately reminded of Gennai’s rhetorical essay on farting, the Hōhiron (放屁論). Indeed, Harumachi says he wishes to amuse everyone for the year-end, and dropping off his robe, starts to fart to Jirobei’s melody, but when he runs out of farts, he has to sing “Pu, pu, pu – Pu, BU, pu” instead. Of course, all get up to circle dance to the “Pu, pu, pu – Pu, BU, pu” chant, and all’s well that ends well.

Seeing everyone off after the party’s ended, Tsutajū notices the falling snow, and murmurs it’s already been three years [since Gennai’s death]. As he sees Okitomo leaving a bordello, Tsutajū recalls that Nanpo had told him that he was “Hana no Kumosuke,” and that Tsutajū had also seen him before at Okitsugu’s when Tsutajū requested protection for Gennai. Tsutajū then walks up to him, asking if hadn’t they met before, at the Tanuma estate.

They go to the fox shrine together, and there Okitomo tells Tsutajū that he’d thought that Tsutajū would remember him at some point. Tsutajū apologizingly asks him who his “intimate companion” (ai’kata, 敵娼) is in the Yoshiwara, and is surprised to learn that it’s Tagasode. Okitomo embarrassingly explains that Tagasode is apparently much taken with his visage, even though he himself doesn’t see what’s so attractive about it. As Tsutajū hangs the chōchin (提灯) lantern on a pillar, he asks Okimoto if he realizes that Tagasode is Tsuchiyama’s woman. Okitomo assures Tsutajū that he’s already discussed it with Tsuchiyama. Tsutaju then asks him if he’s the house elder (karō, 家老) of the Tanuma house, and Okitomo confesses that he’s the son and heir of the house, laughing at Tsutajū’s surprise. Okitomo then decides to confide in Tsutajū that he’s working on how to commandeer the Ezo province for the government in order to open up international trade there and also mine the mountains to enrich the government coffers, so that the funds can be used to make the realm and all its domains more “bounteous,” as Gennai would say. Okitomo then asks Tsutajū if he would be willing to participate in the endeavor.


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NHK Synopsis of upcoming eps. 23: 「我こそは江戸一利者なり」　
https://nhkworldpremium.com/en/episode/366291

Historical Drama "UNBOUND" Eps. 23
・Sun, Jun. 15　20:00-20:45
[R] Mon, Jun. 16　5:00-5:44　[R] Sat, Jun. 21　13:05-13:50

With his kyoka, Nanpo's name becomes known throughout Edo, and "Hama no Kisago", a kyoka guidebook produced by Tsutaju, is flying off the shelves along with other books. Koshodo quickly rises to prominence as one of the most talked-about bookstores in Edo, and Tsutaju earns a reputation as the city's most discerning connoisseur. Around this time, he is encouraged by Suwaraya to expand into Nihonbashi. Meanwhile, Tagasode attempts to persuade Hirotane to bypass merchants and negotiate directly with Russia.


第23回「我こそは江戸一利者なり」
≪あらすじ≫
狂歌で南畝（桐谷健太）の名が江戸中に知れ渡り、蔦重（横浜流星）が手がけた狂歌の指南書『浜のきさご』などが飛ぶように売れた。耕書堂は江戸で大注目の本屋となり、蔦重も江戸一の利者と呼ばれる。そんな時、須原屋（里見浩太朗）から日本橋に進出することを勧められる。一方、誰袖（福原 遥）は、蝦夷（えぞ）地の駆け引きで、商人を通さず、直接オロシャから琥珀（こはく）を買い付けてはどうかと、廣年（ひょうろく）を口説こうとするが…。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
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2025 NHK Taiga Drama: Berabo (Unbound) Eps. 21 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 21: Ezo Sakura & Passing Gas at Ueno「蝦夷桜上野屁音（えぞのさくらうえののへおと）」
(originally aired on NHK Jun. １ (Sun)

At Okitsugu’s, with Okitomo (his son) and Miura (his secretariate, 側近), Miura is explaining to Okitsugu the benefits for the government commandeering the Ezo province [basically, Hokkaidō]. Miura had paid a visit to Kudō Heisuke (工藤 平助, 1734-1801)、enamored of the frontier (ryōzanpaku, 梁山泊), who showed him his book Aka Ezo Fūsetsukō (赤蝦夷風説考) on Ezo and Russia. Miura continues explaining to Okitsugu want he had learned from him. Russia had built a castle on a nearby island and wants to do trading. At present the Ezo province is under the domain of the Matsumae house, and Miura shows Okitsugu a simple map of the area. In addition to the opportunity of international trade, it’s also said to have mountains of gold and silver. Okitsugu recalls that Gennai had told him the same thing.

Okitsugu is much enthused with the idea of commandeering it for the government, and building a harbor like Nagasaki and mining the gold and silver. He wants to immediately summon Matsumoto [Kanjō-ginmi-yaku, (勘定吟味役), akin to minister of finance], but his son stops him, telling him that before the government can confiscate the land (age’chi, 上地), first they need a good reason. Okitomo reminds him of when the Akita fief demanded their copper mines returned when the government hadn’t had sufficient reason for confiscating them. Okitomo then volunteers to search for a valid reason for commandeering the land. Miura worries that Okitomo will be too busy, now that he’s just got a new position as ‘Official in Charge of Cermonies’ (sōshaban, 奏者番), but Okitomo assures him that his new position doesn’t take up all the much time.

＊＊＊　＊＊＊　＊＊＊

At the Daimonjiya, Tsutajū is applying himself to the popularization of kyōka [vernacular-poetry in 5-7-5, 7-7 syllable format], by teaching the verse form to the jorō ladies and others of the bordello. Tagasode immediately volunteers her attempt, which is about Tsutajū buying out her contract (mi'uke, 身請け). Tsutajū is exasperated, and tells her that’s not even a poem. The new master, Daimonjiya II, restates it for her in the form of a proper kyōka format, and tells Tsutajū that after all, it had been in the will of his father. At which Tagasode whips out the document showing it off.

Tsutajū walks back to the Kōshodō muttering along the way, wondering how Tagasode managed to win over Daimonjiya II. Utamaro wlecomes him back, showing Tsutajū proofs of his “Hinagata WakaBA” (雛形若‘葉’) print series. Jirobei asks Tsutajū why he decides to restart his “Hinagata WakaNA” (雛形若‘菜’) print series, and Tsutajū explains it’s not the same series, but a similar one with a different title. Anyhow, the reason is Tsutajū wants to drive Nishimuraya out of the Yoshiwara, and also show that the Kōshodō does nishiki’e color prints, in addition to books.

〈After Opening Sequence〉

As it turns out, Nishimuraya’s was bustling with sales of his “Hinagata WakaNA” print series, but Tsutajū’s “Hinagata WakaBA” was a failure. At the Surugaya, the bigwigs are having a fit about it, reporting that the “young master” of the gofukuya told them to never ask him for a commission again. Ritsu furthers adds that it was Kitao Masanobu’s Gozonji no Shōbai-mono (御存商売物) published by Tsuruya that got top rating in that year’s book of reviews written by Ōta Nanpo [his Ezōshi Hyōban Okame Hachimoku, 稗史評判 岡目八目, publ’d 1782, enlarge photo for detail]. Tsutajū tries to shrug it off saying, one can’t get top billing every year, but Ritsu demands to know why he didn’t realize his own illustrator could write gesaku fiction. While Daimonjiya II recites a kyōka about it, Surugaya loses his temper and slapping down his pipe, gets up to throw Tsutajū down the stairs.

Back at the Kōshodō, Utamaro salves Tsutajū’s injuries, but Tsutajū says he’s used to it. Kitao Shigemasa then appears, with Masanobu in tow, apologizing for the latter’s lack of loyalty to Tsutajū. Tsutaju says he can write whatever and for whomever he likes, by why didn’t he tell him he could write gesaku fiction [in addition to being an illustrator]. Masanobu explains that he was only able to do it because of the detailed instructions (sashi-zu, 指図) by Tsuruya. He then runs off to a bordello leaving Shigemasa behind.

Utamaro then takes the opportunity to ask Shigemasa why the quality of the two print-series, Nishimuraya’s and Tsutajū’s, are so different. Shigemasa explains that the better quality [of prints like Nishimuraya’s] is due to careful instructions (sashi-zu, 指図) by the artist and publisher. When Utamaro turns back to his sketches, Tsutajū looks over at him sadly [probably regretting that he hadn’t but more effort into producing a better printing for his sake as well.]

Next, Ōta Nanpo shows up, with Akera Kankō in tow, on their way to a banquet with Tsuchiyama’s kyōka group after they’d been out for a cherry-blossom viewing [at famous spots like Mukōjima and Ueno]. Tsutaju then notices a handsome man amongst the group that he thinks he’s seen somewhere else before. Napo tells him that he’s an associate of Tōsaku’s by the poet-name of Hana no Kumosuke (花雲助), [we’ll soon learn that he’s Okitsugu’s son, Okitomo].

At the banquet party at Surugaya’s, Tagasode arrives with her entourage taking a seat beside Tsuchiyama, the host of the party. Nanpo is disappointed to learn that Tagasode’s “designated customer” (ai’kata, 敵娼) is Tsuchiyama. Tsuchiyama asks her how she likes her present and she thanks him with a kyōka, then opens up the fancy billfold showing it’s empty. Then as Tsuchiyama heaps on a pile of pinks slips [kamibana (紙花) vouchers, worth about 10,000 yen or 100 bucks(ish) each in current currency], Tagasode notices a handsome man, making her eyes twinkle. When asked by Tsuchiyama, Tagasode gives the party the theme for their kyōka poems, “Sode ni yo-suru koi” (袖に寄する恋), inviting all to contribute, especially those in the back [where the handsome guy is].

Much to Tagasode’s consternation, it is Nanpo who recites the first poem, comparing her to a glorious flower in the morn. One after another, others recite their poems, when a man by the poet-name “Ezo no Sakura” [蝦夷の桜] enters seating himself beside the handsome man [Hana no Kumosuke, aka Okitomo]. Tagasode nods to Shige [her house matron] to go over to them, and there she eavesdrops on their conversation about the issue of the Ezo province and the fief lord Matsumae.

＊＊＊　＊＊＊　＊＊＊

A blossom-viewing party is being held at the Matsumae estate. There, Matsumae Michihiro has a wife of one of his retainers tied to a tree, while he shoots at the plates surrounding her. When he’s passed another newly loaded gun to continue, she faints in terror along with her husband who had been begging Michihiro to stop. Okitsugu observes Harusada and Shimazu enjoying the spectacle, and also takes note of the imported Chinese garment on display. Michihiro invites Okitsugu to try his hand, but he begs off saying with his insufficient skill he might kill the woman. Michihiro laughingly assures him he has an endless supply to replace her.

Later, playing chess with the shōgun, Okitsugu suggests they put off their attempt to confiscate the Ezo province for the nonce, since surely Michihiro will use Harusada’s support to put a stop to it. Moreover, with the issues surrounding the adoption of Toyochiyo just recently resolved, best not to have another confrontation so soon. The shōgun recommends they continue with the plan anyway, in order to build a strong government that can withstand whoever may become shōgun in the future.

At the Kōshodō, Tsutajū is warming sake for Ōta Nanpo, Akera Kankō, and Moto no Moku’ami who have shown up hungover the day after the blossom-viewing party. Tsutajū asks Nanpo to write a kyōka anthology for him, but Nanpo has had so many requests that he couldn’t do until about five years later. Tsutajū is disheartened that he’s fallen behind the well-established town publishers in this too, making him all the more aware of the difference in metier between them. Nanpo assures Tsutajū that’s actually his strength, because he does things that no one else would have thought to do. The others chime in with Tsutajū’s “didn’t see that coming” (sō kita ka, そう来たか) publications: Tsutajū’s thinner than a cracker Saiken, his Hitome senbon (一目千本), and his book on the Yoshiwara festival (Meigetsu yojō, 明月余情). Tsutaju then abruptly asks Nanpo to write a gesaku book for him, and then thinks of in addition, a how-to book on kyōka.

At the Surugaya, Tsutajū presents his idea on producing yet another print series, this time with background like his fancy book depicting the oiran of the Yoshiwara, titled Seirō bijin awase sugata-kagami (see eps. 10). The bigwigs are against it, since Tsutajū’s book was such a financial disaster, but Tsutajū insists that a print series will be a success. Ritsu asks who he has in mind for the print artist, and of course Tsutajū had intended Utamaro to do it.

Returning to the Kōshodō, Utamaro is excitedly showing off the new proofs of his prints with improved coloring. Tsutuju suddenly kneels down before him apologizing since the bigwigs insisted that he have a well-known print artist do the series instead of Utamaro. Tsutajū is thinking of having the young print artist Masanobu do the prints series for him, since Tsuruya set Masanobu up as a gesaku writer, he wants establish him up as a print artist. Since Masanobu will be busy with this new work, Utamaro offers to take on the other projects Tsutajū already had Masanobu doing for him. While seeing Shigemasa and the woodblock printer off, Shigemasa confides to Tsutajū that he’d wanted to see Utamaro do they series because he can imagine what Masanobu’s prints will be like, but he wants to see what kind of print artist Utamaro will become. Re-entering the Kōshodō, Tsutajū sees Utamaro forlornly picking up his print materials, but Utamaro assures him that he’s just happy to have a roof over his head, enough food to eat, and allowed to make his drawings. Tsutajū, however, insists that he wants to make a name for Utamaro.

＊＊＊　＊＊＊　＊＊＊

Meanwhile at Okitsugu’s, along with his son and Miura, they are discussing the issues surrounding the Ezo province. The two report their findings to Okitsugu, that they’d learned from Minato Genzaemon [aka “Ezo no Sakura”], formerly a commissioner of finance (kanjō bugyō, 勘定奉行) before being removed from his position by Matsumae. According to him, Matsumae did whatever he pleased, running roughshod over the province, and also treated the aborigines abominably. He also made a massive fortune through illicit trade (nuke’ni, 抜荷) with Russia. Okitsugu warns them that Matsumae is close to Harusada, the “white devil” (白天狗), so they will have to tread carefully. Nevertheless, the shōgun has given him the go-ahead to continue, fully cogniscient of that fact. They still need to find solid proof of illicit activity; at which Okitomo says he’s heard of a diagram (ezu, 絵図) of the illicit trade, so he will search for that. Okitsugu wants his son to no longer be involved because of the possible repercussions, but Okitomo tells him that it makes no difference since his father is involved.

While Tagasode prays for success with her new love at the fox shrine, Tsuchiyama delivers her missive (addressed to his poet-name, Hana no Kumosuke) to Okimoto, explaining that she’d like to talk to him about the Ezo issue. Thinking she might have useful information, Okitomo goes to see her. There she explains to him that she can attain useful information from the merchants at the Yoshiwara who trade in goods from the Ezo province. Okitomo thinks that all she’s after is money, but she tells him that there’s something she wants more than that, asking him to buy out her contract (mi’uke, 身請け).

＊＊＊　＊＊＊　＊＊＊

Harumachi mulls over Masanobu’s Gozonji no Shōbai-mono (御存商売物) which got top rating that year. Shortly thereafter, Tsutajū’s party for presenting Utamaro has begun. Besides publicizing Utamaro’s talent, Tsutajū’s other intent is to collect kyōka poems for an anthology. While trying to encourage Utamaro to circulate amongst the guests, Kisanji comes up to Tsutajū telling him that he needs to see to Harumachi. As it turns out, Masanobu’s Gozonji book was largely based on Harumachi’s Kotoba tatakai atarashii no ne book, but without the witticisms and puns illustrated as monsters.

Completely insensitive to Harumachi’s feelings, Masanobu is joking around with Nanpo and Shunshō about how successful HIS book is and how great HIS illustrations are, when he suddenly comes over to Harumachi, asking him for a kyōka poem like they’re close friends. Harumachi then completely loses it, calling Harumachi a thief, knocking over the serving tray and beating up on everyone around him. He then disparages everyone by improvising insultingly facetious poems. In the midst of Harumachi’s tirade, Jirobei suddenly farts, “Hey〜,” stunning all to silence. When Jirobei then apologies, everyone breaks out in laughter, They then start a circle dance to the chant of “Hey〜, Hey〜, Hey〜,” while everyone takes turns reciting an improvised kyōka. Harumachi, hardly consoled by this, takes out his brush, and breaking it in half, declares he’s done with writing. Tsutajū picks up the broken brush, sadly watching Harumachi walk out.

[It looks like that in the forthcoming episode, Harumachi will make a name for himself as a facetious author.]



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NHK Synopsis of upcoming eps. 22: 「蝦夷桜上野屁音」　
https://nhkworldpremium.com/en/episode/366290

Historical Drama "UNBOUND" Eps. 22
・Sun, Jun. 8　20:00-20:45
[R] Mon, Jun. 9　5:00-5:44　[R] Sat, Jun. 14　13:05-13:50

Harumachi, having revealed his intense jealousy toward Masanobu at a banquet held to promote Utamaro's name, still refuses to write despite Tsutaju’s request. In an effort to persuade him, Kisanji and Utamaro pay Harumachi a visit. Meanwhile, Tagasode (Fukuhara Haruka) presses Tanuma Okitomo to redeem her in exchange for her cooperation regarding the Ezochi matter. She then attempts to approach Matsumae Hirotane (Hyouroku) to obtain evidence of the illicit trade.


第22回「小生、酒上不埒（さけのうえのふらち）にて」
≪あらすじ≫
うた麿大明神の会で政演（古川雄大）に激しく嫉妬した春町（岡山天音）は、蔦重（横浜流星）の依頼に筆を取らない状況が続いていた。そんな春町を説得しようと喜三二（尾美としのり）と歌麿（染谷将太）が春町を訪ねる。一方、誰袖（福原 遥）は意知（宮沢氷魚）に、蝦夷地の件で協力する代わりに身請けしてほしいと迫る。そして松前廣年（ひょうろく）に接触を試み、“抜荷”と呼ばれる密貿易の証しをつかもうとするが…。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 20 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 20: The Season of the Sleepyhead「寝惚（ぼ）けて候」
(originally aired on NHK May. 25 (Sun)　

As was seen at the end of the previous episode, Jirobei runs up to Tsutajū showing him the Kikujusō (菊寿草) that had just come out, written by Yomo Sanjin (四方山人), aka Ōta Nanpo (大田 南畝, 1749 –1823), as comparative critique of recent publications. Tsutajū recognizes the author as that “sleepyhead-sensei” (neboke-sensei, 寝惚先生), and Utamaro points out that Tsutajū’s Miru-ga-toku issui no yume (見徳一炊夢), [written by Kisanji after the dream he had, eps. 18], had won the highest rating.

Inside, Jirobei and Ritsu read out the review, pleased at the praise Ōta Nanpo has given the Kōshodō. Harumachi comments that it can be interpreted that the Kōshodō is soon to become the best under the sun (tenka, 天下), at which, Tsutajū laughs happily, saying, just imagine that.

Meanwhile at the town book publishers meeting, they are also commenting on the reviews in Ōta Nanpo’s Kikujusō. They complain that it’s like there are no other publishers, with the Tsutaya as the lead-off. Another reasons that it is only concerning aobon, which are not the main support (yataibone, 屋台骨) of the publishing business. Another adds, it’s just a one-time fluke (maguri-atari, マグリ当たり). With a wry smile, Tsuruya, mutters that it would be good if so. Nishimuraya assures him that he worries too much, because he will strike back with his nishiki’e prints. Tsuraya warns him, that while his nishiki’e are a good comeback, he needs to take special care of the Saiken, since that’s the publication most crucial to the town publishers at present. Tsuruya glances over at the group of bookshop owners, listening in on their conversation. They are discussing the review of Kisanji’s Miru-ga-toku issui no yume published by Tsutajū’s Kōshodō, saying that their customers are asking for it, and it’s incredible that they can’t have such a highly acclaimed book on their shelves. Tsuruya looks on, grimacing worriedly.

At Hitotsubashi Harusada’s residence within the castle, he is seemingly astounded that his oldest son, Toyochiyo (豊千代), is to be made heir to become the next shōgun. Harusada had thought that the shōgun was planning on having another son to make his heir, but Okitsugu explains that the shōgun decided it would be best for the Tokugawa lineage if Toyochiyo was made heir, with Tanehime from the Tayasu house as his Midaidokoro (formal first lady). Harusada comments that Okitsugu is being oddly stiff today, but Okitsugu just rationalizes it that it’s because he’s on a formal assignment from the shōgun. Harusada tells Okitsugu that while he’s surprised, he’s happy to comply, but there’s a problem; Toyochiyo is already betrothed to Shigehime (茂姫) of the Satsuma fief. Okitsugu suggests that in that case, the betrothal be annulled, and Shigehime made Toyochiyo’s consort (sokushitsu, 側室) instead. Harusada agrees to communicate that to Shimazu (島津, lord of the Satsuma fief).

Meanwhile at Ōta Nanpo’s, Tsutajū has decided to pay a call accompanied by Suwaraya, since Ōta Nanpo applauded the Kōshodō and Kisanji’s Miru-ga-toku in his Kikujusō. Entering the rather worn and shabby quarters of Ōta Nanpo’s government residence for the shogunal guards [one of the lowest positions in the Tokugawa military bureaucracy], the two wait for Ōta Nanpo’s appearance thinking they are alone. Tsutajū comments to Suwaraya that Ōta Nanpo is probably someone in need of a lot of cash for his writing. Suwaraya responds that indeed, he is not of the same social class as Kisanji [who is akin to the fief’s managing director in Edo, (rusu’i-yaku, 留守居役)].

Suddenly a plum-tree flower is thrust through a torn hole in the white-paper shōji screen, while they hear a verse: “Give me, give me; Money, hand me; Coo-coo cuckoo do!” (くれよくれ、金はおくれよ、ホーホケキョ). Tsutajū introduces himself through the hole in the shoji screen, and comes face-to-face with a baby who bursts out crying. Ōta Nanpo then opens the shōji screen to the garden, where he is holding the baby in his arms. Tsutajū asks if his mother and wife and are out, but Ōta Nanpo ignores him, more interested in the sweet senbei cookies Tsutajū brought.

Ōta Nanpo recites several more humorous improvisational poems, all of an auspicious nature, celebrating the joy of anything and everything, such as the cookies Tsutajū brought from Yoshiwara, the very existence of Yoshiwara itself, the worn and browned tatami mats, and even the holes in the shōji screen: “Through the holes; Mt. Fuji can be seen; Holey, holey, holey moley!” (穴の向こうにゃ富士が見える。あなあなあなあな), pointing out each of the holes. Tsutajū laughs at the humorous poems, amazed that Ōta Nanpo can find absolutely anything joyous. He then asks if Ōta Nanpo would write something for him, like maybe a guidebook on the joyousness of Edo, or whether there’s something he’d like to write in particular.

Ōta Nanpo says he’s currently most interested in kyōka (狂歌), and Tsutajū asks if that’s what the “Kure take no” poem that he’d recited earlier was (くれ竹の、世/節の人並みに、松立てて、破れ障子に、春/張るは来にけり). Suwaraya comments from where he’s seated on the veranda to the garden, that the number of people practicing kyōka has increased, as well of the number of kyōka gatherings. Ōta Nanpo then asks them if they’d like to attend a kyōka gathering, offering Tsutajū a cookie.

〈After Opening Sequence〉

Back at the Kōshodō, Ritsu says to Tsutajū that a book of kyōka would just be soon discarded right after being read. Meanwhile, Utamaro says they need to reprint another 100 copies of Kisanji’s Miru-ga-toku, making Tsutajū surprised at how well it is selling. Just then Iwatoya (岩戸屋) enters after a long absence, but Tsutajū remembers him because he’d commissioned a large number of his Saiken way back when. Iwatoya has come to order 50 copies of Kisanji’s Miru-ga-toku, but Tsutajū is worried whether it is alright for Iwatoya to sell them since he is a town bookshop [located in the Kayamachi neighborhood of Asakusa]. Iwataya assures him it is not a problem because it can be excused, since it’s absurd for a bookshop not to carry such a highly acclaimed book. Tsutaju takes note that town bookshops will carry his books, if an excuse can be made for it.

At the Nishimuraya, Koizumi Chūgorō [the Asakusa publisher] is madly working on revising the latest information on the Yoshiwara bordellos for the 7th-month release of Nishimuraya’s Saiken. Hearing that the “Young Master” [probably of a gofukuya (kimono shop)] has put in an appearance at the Yoshiwara, Nishimuraya drags Koizumi off even though he’s still in the midst of revising. There, he solicits a promissory note from the young master, explaining that he’s switched the artist of his “Hinagata Wakana” print series of oiran from Koryūsai to Kiyonaga. The young master’s oiran begs he agree since she wants to be illustrated in it.

While at the Kōshodō, Ritsu agrees to take charge of the revising of Tsutajū’s Saiken. Utamaro is immersed in making his sketches, when Tsutajū interrupts him to ask if he can make images in the style of Kiyonaga, so similar that they would be mistaken for Kiyonaga’s. But Tsutajū doesn’t want Utamaro to just copy images Kiyonaga has already done, but make new images in the exact same style. Utamaro agrees to try, but wonders what’s Tsutajū’s intent. Tsutajū, glancing at Ritsu, explains that he needs to make a reason for the town bookshops to have an excuse for carrying his publications.

.... ... ....

At the castle in audience with the shōgun, he tells Okitsugu that Shimazu Shigehide (島津重豪, lord of the Satsuma fief) has made a complaint about Shigehime to be made Toyochiyo’s consort (sokushitsu, 側室) instead of Midaidokoro (formal first lady), since the betrothal was by the will & testament of Jōgan’in (浄岸院), [the most beloved lady of the 8th shōgun, Yoshimune, and who later became the secondary wife of the 5th head of the Satuma fief].

The shōgun offers Okitsugu wine, brought from Satsuma by Shimazu Shigehide who acquired it through trade with the Dutch. After discussing Dutch studies and trade, they turn back to the issue of who to be made Midaidokoro. Okitsugu explains that by precedent the Midaidokoro always came from either the royal family or from one of the five families of the Fujiwara nobility (gosekke, 五摂家). Shimazu counters that it’s the same situation with Tanehime, but Okitsugu further explains that Tanehime’s mother, Hōren’in is from the Kono’e family, one of the five families of the Fujiwara nobility. Shimazu enquires why it is so important to Okitsugu for Tanehime to be made Midaidokoro, whether it is because Shirakawa is backing her, because otherwise it would just be an impediment to Tanuma. Okitsugu says it’s because it’s what the shōgun wants for the sake of the future, then gulps down his wine.

After Okitsugu leaves, Harusada comments on how shaken up Tanuma was, and Shimazu reminds him that he really doesn’t care about whether she [Shigehime] is made consort to the shōgun or Midaidokoro. Harusada tells him that he’s looking forward to how Okitsugu is going to manage dealing with the Tayasu house over the issue.

Elsewhere, Hōren’in speaking to Chiho-no-Maru, wonders if it’s Tanuma pulling strings from behind. Chiho says there’s rumors to that affect, and her lady-in-waiting, Ōsaki, adds that Okitsugu has enlisted Hitotsubashi on the issue regarding Shimazu [who’s to become Midaidokoro, and by extension what’s to become of Chiho.] Hōren’in is furious, thinking that once again Okitsugu is trying to eliminate the Tayasu house [Tanehime].

Shortly thereafter, Okitsugu meets with Takaoka, who has a missive purportedly from Hōren’in to the shōgun, but actually written by Shirakawa. In the letter, Okitsugu [addressed by his title, Tonomo-no-kami (主殿頭)] is accused of everything from the deaths of Iemoto and Takechika to the current issue in regard to Toyochiyo’s adoption by the shōgun, and now Okitsugu has even inveigled Shimazu as part of his [Okitsugu’s] scheme. Somewhat at a loss, Okitsugu asks Takaoka who she thinks would be best for the Ōoku [to be made Midaidokoro, Tanehime of the Tayasu house or Shigehime of the Shimazu house]. Takaoka ponders, for the Ōoku … …

Under the crescent moon, Harusada [the actual puppet master pulling the strings] sits drinking wine alone on the garden veranda.

.... ... .... ... .... ... ....

Back at the Yoshiwara, to the sound of a samisen, an oiran with her entourage walks forth to her banquet room. On the second floor of the Surugaya, Tsutajū has brought Utamaro along to meet with Owariya (尾張屋), [the “Young Master” of a gofukuya (kimono shop)]. There Owariya is surprised that Tsutajū is offering a commission of a print for half the price of [Nishimuraya’s] “Hinagata Wakana.” Tsutajū explains that although it looks identical to the style of Kiyonaga, it was actually done by Utamaro. Tsutajū plans to produce a “Hinagata Wakana II” by Kiyonaga II [Utamaro], with the title of his print series to be “Hinagata WakaBA” (雛形若‘葉’). When Owariya worryingly says that he’s heard Tsutajū’s publications won’t be distributed outside of the Yoshiwara, Ritsu assures him that’s to change by the next spring. At which, Owariya agrees to paying for the commission.

Later at Nishimuraya’s, the “Young Master” arrives apologetically requesting to cancel his commission. Nishimuraya exclaims, but it’s by Kiyonaga! After the young master leaves, Nishimuraya crosses out the fifth rejection from his list. Chūgorō wonder’s if it isn’t that Kiyonaga is just too expensive. Just then, his clerk Chūshichi (忠七) arrives with a sample print in black and white that he’d brought from the gofukuya shop’s clerk. Nishimuraya reads the title, “Hinagata WakaBA.”

Shortly after at the Kōshodō, talking with Ritsu and Utamaro, Tsutajū wonders how many more of Nishimuraya’s promised commissions they can ruin. When, Nishimuraya bursts in, throwing down the sample print and accusing Tsutajū of using a dirty trick. Tsutaju kneels down before Nishimuraya thanking him, after all it was Nishimuraya himself who taught him how to play dirty. Nishimuraya counters that Tsutajū wouldn’t have been able to publish the first “Hinagata Wakana” without Nishimuraya’s name added. Tsutajū agrees that’s true, so this time he’s producing his series by his own metier. Nishimuraya tells him, now you think you’re such a big deal, but selling a print series isn’t as easy as you think. After he leaves, Utamaro comments that Nishimuraya is only thinking about his nishiki-e prints. Tsutajū says that soon he will discover the ‘other’ too. [Apparently, Tsutajū’s “Hinagata WakaBA” was only a feint.]

Nishimuraya returns to his shop shuttered for the night. There he finds Chūgorō completely confounded, seated before Tsutajū’s “Ah~ O’Edo" Saiken published by Urokogataya [see eps. 2]. Chūgorō says he’d realized it needed a lot of revising, but as he double-checked, he found that the names of the jorō had all changed, and it’s full of jorō names that no longer exist.

On a day soon after, Tsuruya enters Nishimuraya’s shop having heard that Nishimuraya wasn’t going to publish the 7th-month edition of the Saiken that year. Nishimuraya explains that he had put his efforts into preserving his “Hinagata Wakana,” since nishiki-e is his main business, and had planned to produce the Saiken following that. Tsurya says, in that case, he’ll produce the Saiken himself, after all, the revising is finished right? Nishimura tells him that if about a half of it is not redone, it’s unusable, hence why he decided not to produce the 7th-month edition. Tsuraya exclaims in anger, didn’t I tell you to take good care of the Saiken?!

Back at the Kōshodō, Tsutajū is laughing while reading the finished manuscript of Harumachi’s book, with illustrations of male hairstyles of the future. Ristu walks in announcing that orders for Nishimuraya’s “Hinagata Wakana” have been greatly reduced, and rumor has it that this is to be his last production of it. She then asks Tsutajū how Nishimuraya’s production of his Saiken is coming along, and Tsutajū says he found that there’s been no order put in for the woodblocks to be carved. Ritsu says, it will be soon then, as Utamaro looks on. Tsutajū whispers to himself, Iwatoya, I’m counting on you.

In the meeting room at the rear of Tsuruya’s, the town bookshop retailers have gathered in the back. Iwatoya, seated at the very rear, speaks for them, asking where they are supposed to acquire the Saiken now. Nishimuraya yells at them that they can live without the 7th-month edition. Iwatoya says that the town publishers of Nihonbashi keep telling us over and over again that Tsutaya will come to ruin, but his momentum just increases. Isn’t it about time you allow us to start dealing with Tsutajū, otherwise … They all stand to leave, when Tsuruya to all’s surprise announces that it will be allowed, if it’s necessary to preserve their sales. Murata yells out, it’s all just a lie because they want to handle Tsutaya’s books. Tsurya says he doesn’t think it’s a lie. Then the rest of the book publishers agree with the decision, if that’s what Tsuruya thinks is best. After the bookshop retailers express their thanks and depart, Tsuruya explains that if they hadn’t agreed, the bookshop retailers had planned to leave their collective. Then Tsutajū would be become head of new group he started, and that would be the worst possible outcome.

Shortly thereafter at the Kōshodō, Iwatoya has come to order the books Tsutajū had promised to give him for free in return for his service: 50 copies of Tsutajū’s Saiken, five copies of each of the Tomimoto jōruri books, and 50 copies of Kisanji’s Miru-ga-toku. Tsutaju shows him a copy of Harumachi’s Mudaiki (無題記) that he’d just released. Iwatoya takes a quick look-thru, and seeing the amusing illustrations, immediately orders 30 copies. Meanwhile a crowd of book retailers in the background are also busily placing their orders for Tsutajū’s various publications.

Later, Jirobei is astounded at the amount of orders they received. At that rate they have to print more copies. Jirobei says, look what happens once the lid is off the pot. Tsutajū chides him not to make it sound like it’s a cauldron of hell. Ritsu wonders if this means that the town publishers have now accepted him, and Tsutajū sets out to find out.

Tsuruya is perusing the Kikujusō (菊寿草) review of books, when the outer door is heard to slide open and Tsutajū’s visit is announced. Tsutajū has brought a bundle of his Saiken to give Tsuruya in appreciation of being accepted by the town publishers. Tsuruya tells him, make no mistake, although they’ve given the town retailers permission to do dealing with him, He’s no intention of dealing with Tsutajū himself; there’s not a single on of his books that he wants. Tsutaju happily retorts that then he will just have to produce a book that Tsuruya will want. Tsuruya laughingly says that he’ll be looking forward to it.

After Tsutajū picks up his bundle of books and leaves, Kitao Masanobu then enters, asking Tsuruya if he’s reconciliated with Tsutajū. Tsuruya turns to look at him deadpan, and suddenly asks if Masanobu wouldn’t write a gesaku (戯作) book for him.

.... ... .... .... ... ....

Meanwhile back at the castle, Takaoka is swirling her wine, when Hōren’in comes rushing in furious that the betrothal was decided without one word to her. Takaoka explains that since Tanehime is the adopted daughter of the shōgun, she no longer belongs to the Tayasu house. Hōren’in demands to know what the shōgun had to say about it. Takaoka says that she’s to be betrothed to the Kishū Tokugawa house, the hometown of the former shōgun Yoshimune, and the shōgun said that there’s no more dignified betrothal than that. Takaoka then takes a sip of her wine, and then as if it just dawned on her, asks Hōren’in if she would like some. Just then a racket is heard. Chiho-no-maru is being dragged away, while still claiming she still belongs in the Nishi-no-maru, as she is to be the foster mother of Toyochiyo. Hōren’in turns to Osaki for explanation, who tells her that it’s been decided that Toyochiyo will reside in the Nishi-no-maru along with his birthmother, so Okitsugu has had Chiho removed. Stunned, Hōren’in looks on muttering, the wrath of heaven will strike Tanuma down at some point.

In the audience chamber, Toyochiyo having formerly been adopted, pays his respects to the shōgun, at which the shōgun tells him to think of him as his real father, while Okitsugu looks on happily from behind. Later, at the veranda to the garden, the shōgun confirms with Okitsugu that Toyochiyo’s surrounding personages in the Nishi-no-maru are to be Shigehime and her birthmother, with Tanuma Okimune as their “house elder” (karō, 家老) to serve as chief of staff. Okitsugu apologizes for not having been able to organize it quite as the shōgun had wished, but the shōgun says that what he most wants is Okitsugu to provide for the future, so he’s fine with it if it’s what Okitsugu thinks is best.

.... ... .... .... ... ....

Tsutajū, accompanied by Jirobei, attend the kyōka gathering, that he was invited to by Ōta Nanpo. The gathering is surprisingly formal, with the kyōka poem submissions written out on tanzaku decorated-slips carried in on a tray [by Moto no Moku’ami’s wife, Chie no Naishi (知恵内子)?]. Tsutajū explains to Jirobei that for waka poems, literary terms must be used, but for kyōka everyday language is used. Tsutajū notices Hezutsu Tōsaku (平秩東作) there amongst the members. The event begins with the master of ceremonies announced as Moto no Moku’ami (元木網), [which is the kyōka artist-name for Kō Sūshō (高嵩松, 1724-1811) who owned a bathhouse in Kyōbashi]. The theme for the poems is “love drawn by eel” (鰻に寄する恋). The judge for the day is Yomo no Akara (四方赤良), the artist-name for Ōta Nanpo, who makes suggestions on how to approve the poems.

At the banquet party afterwards, eel is served in keeping with the theme. Apparently, the host of the party is Tsuchiyama Sōjirō, a wealthy Hatamoto, who arrives late. When Tsuchiyama notices Tsutajū as an unfamiliar face, Tsutajū introduces himself as Tsuta no Karamaru, who runs a bookshop at the Yoshiwara. Tsuchiyama asks him for a verse, and of course, Tsutajū’s turns out to be not much of a verse at all, at which Ōta Nanpo turns it into a proper poem to all’s amusement. Tsutaju is much taken with the sophisticated word play of the Kyōka poems, and Ōta Nanpo much enthused by him serves him cup after cup of sake.

Back at the Kōshodō, Tsutajū returns home as the roosters crow, where Utamaro is still up late at night working on his sketches. Utamaro, hearing his knocking, gets up to let him in. The drunken Tsutajū grabs Utamaro for balance and falls over on him. As he passes out, he mutters, kyōka is going to be wildly popular, I’m gonna popularize it!

The episode concludes with the narrator saying, that besides kyōka there will something else taken notice of …　and, Miura says, the author [of Aka Ezo Fūsetsukō, 赤蝦夷風説考] is Kudō-sensei (工藤).

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NHK Synopsis of upcoming eps. 21: 「蝦夷桜上野屁音」　
https://nhkworldpremium.com/en/episode/366289

Historical Drama "UNBOUND" Eps. 21
・Sun, Jun. 1 20:00-20:45
[R] Mon, Jun. 2 5:00-5:44　[R] Sat, Jun. 7 13:05-13:50

Tsutaju is disheartened as the nishikie prints he created with Kitagawa Utamaro (Sometani Shota) fail to sell. To make matters worse, he learns that one of the aohon, a genre of blue-covered fiction books, written by Kitao Masanobu (Furukawa Yuta) is selling well through a publication by Tsuruya. This makes him painfully aware of the difference in influence between them. Meanwhile, Nanpo arrives at a cherry blossom viewing party hosted by Tsuchiyama Sojiro (Yanagi Shuntaro), accompanied by his fellow kyoka poets. Among the guests, Tsutaju spots a man who appears to be Tanuma Okitomo (Miyazawa Hio) in disguise.


第21回「蝦夷桜上野屁音（えぞのさくらうえののへおと）」
≪あらすじ≫
蔦重（横浜流星）は、歌麿（染谷将太）と手掛けた錦絵が売れず、さらに鶴屋（風間俊介）で政演（古川雄大）が書いた青本が売れていることを知り、老舗の本屋との力の差を感じていた。そんな中、南畝（桐谷健太）が土山（柳 俊太郎）の花見の会に狂歌仲間を連れて現れる。蔦重はその中に変装した意知（宮沢氷魚）らしき男を見かける。一方、意次（渡辺 謙）は家治（眞島秀和）に、幕府のため、蝦夷地の上知を考えていることを伝える…。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 19 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 19: Uroko’s Keepsake「鱗(うろこ)の置き土産」
(originally aired on NHK May. 18 (Sun)　

As was last seen, Okitsugu was in audience with the shōgun presenting his list of new government appointments, when the shōgun explained that his lack of attention was due to being up all night with the young O’Tsuru. As Okitsugu is chuckling well pleased, an attendant enters with the alarming news that Chiho-no-maru has been found poisoned, with a missive for the shōgun.

As it turns out, Chiho had learned that this young woman resembling the shōgun’s beloved deceased wife had been brought for him from Kyōto. Should the new woman bear an heir by the shōgun, Chiho would lose her position, and then having no reason for being, only wishes to join her deceased son. Upon hearing this, the shōgun runs to see her.

Takaoka (head of the Ōoku women’s quarters) presents Okitsugu with missives from Hōren’in (widowed first wife of the Tayasu house) and Shirakawa. The two letters are petitioning in concern over the incident, worried that if the present shōgun has another son, what would become of Tanehime who was slated to become the next Midai-doroko on accession of her future husband as shōgun, and to that end, they request an heir of appropriate age be adopted. Okitsugu is suspicious of the timing, which is well warranted. Just then, a female attendant arrives with the news that Chiho’s life has been saved. Takaoka sends her off to prepare get-well gifts for Chiho. Afterwards, Okitsugu comments that Chiho’s recovery was oddly rapid, and Takaoka suggest it was a scheme by her women. Indeed, Hōren’in speaking to Chiho in her sickbed, comments on her good recovery. Chiho explains that the person who prepared the poison was skilled in preparing just the right amount. Hōren’in emphasizes the importance of Chiho making the shōgun aware of how much his taking a new consort has injured Chiho and Tanehime.

Elsewhere, Urokogataya is packing up his shop in preparation for its permanent closure. In a meeting with the town book publishers, Urokogataya’s eldest son, Chōbei, turns over the rights to the Urokogataya’s Saiken to Nishimuraya. Murataya wonders how Urokogataya is doing and Chōbei reassures him that he will be back to himself once the details of the shop’s closure are settled. Nishimuraya is also concerned whether it is appropriate to continue the discussion without him present, but Chōbei has come with instructions from Urokogataya. The Saiken rights and his young son, Manjirō, are to be put in the care of Nishimuraya, and the author Koikawa Harumachi will be transferred to work for Tsuruya. Just as Tsuruya assures Harumachi that they will produce good works together, Urokogataya’s chief clerk Tōhachi (藤八) enters announcing Tsutajū’s precipitous arrival.

Having learned of Urokogataya’s closure, Tsutajū has come to purchase the rights of Urokogataya’s Saiken. Nishimuraya snidely comments that’s just because Tsutajū wants to attain a monopoly of the Saiken, but he’s too late, the rights have already been turned over to him, showing Tsutajū the document. Tsutaju offers to pay 2-3 times the price, because what Urokogataya needs most now is cash, but they still turn him down. Nishimuraya counters that Tsutajū has already taken in Toyoaki (Utamaro), and he’s wrong to think that he can acquire anything he wants just with cash. Harumachi stands up to leave in disgust, when Tsutajū notices him, and introduces himself. Nishimuraya tells him that he’s too late for that too, because it’s already been decided that Harumachi is to work for Tsuruya. Nevertheless, Tsutajū begs him to write just one book for him, like Kisanji. Harumachi tells Tsutajū to stay away from him, for he has no desire to speak to such a thief of others’ works.

[One might recall that it is Urokogataya who was the plagiarizer, and moreover it was Urokogataya who stole Tsutajū’s idea for the book Kinkin sensei eiga no yume (金々先生栄花夢) and had Harumachi write it, see eps 8.]

〈After Opening Sequence〉

Tsutajū walks back to his Kōshodō, mulling over what just transpired. Welcomed back by Utamaro, there he finds Surugaya Ichiemon waiting for him, who tells him that Daimonjiya Ichibei died that morning.

[Btw, in the show Daimonjiya is nicknamed “Kabocha” (pumpkin) because as a skinflint he fed his jorō mostly just pumpkins.]

At the beginning of An’ei 10 (1781), the bigwigs hold a memorial banquet for Daimonjiya who died at the end of the previous year. With Tsutajū seated in the center, they discuss the publishing situation. When Ritsu mentions that Nishimuraya’s Saiken has come out, Tsutajū apologizes for not having been able to prevent it. Chōjiya Chōjūrō (scarface) shows a print of an oiran attended by her kamuro and shinzō, one from the continuing series titled “Hinagata Wakana no Hatsumoyō” produced by Nishimuraya, but unlike the heretofore prints in the series, the artist is someone other than Isoda Koryūsai.

Tsutaju recognizes the artist as Torii Kiyonaga, and Ritsu adds that he’s now the currently popular artist of the Torii school. Wakagiya asks Tsutajū if he can’t get Kiyonaga to work for him, otherwise the jorō and bordellos might switch to Nishimuraya; many have already switched to Nishimuraya’s Saiken. Ōgiya thinks that maybe Nishimuraya is trying to force a renewed joint association with Tsutajū, and if that happened, they couldn’t face Daimonjiya who would surely have been enraged.

[Recall that, the original “Hinagata Wakana no Hatsumoyō” print series was first published by Tsutajū, but since the town shops refused to distribute it, Tsutajū was forced to remove his Kōshodō as the publisher, and it was taken over by Nishimuraya, eps 4. Tsutajū tried to counter it by producing his fancy book depicting the Oiran of the Yoshiwara, titled Seirō bijin awase sugata-kagami, but as Tsuruya predicted, it was too expensive for the common man to purchase, and its sales were not what Tsutajū had hoped, eps.11]

Matsubaya asks Tsutajū how his aobon are coming along, the ones by Maa-san (Kisanji). Tsutaju admits that while they were well-received, they’re fairly inconspicuous. Matsubaya is surprised because Kisanji is such a famous author, but Tsutajū explains that it’s because the market is flooded with aobon, and now Tsuruya has yet another author working for him, Shiba Zenkō (芝 全交, 1750-1793), who is superb. Ichiemon throws down his sake cup in disgust, exclaiming that they’ve been done over by the town bookshops.

Ritsu suggests that Tsutajū acquire Harumachi as an author, and the bigwigs discuss how that might be accomplished. Ōgiya suggests that Tsutajū rely on Kisanji, since he’s friends with Harumachi. The bigwigs offer to treat Harumachi however much he wants at the Yoshiwara, but Tsutajū says Harumachi is firmly attached to Uroko. Ritsu says then now is his chance, and offers to handle it herself, since the Yoshiwara and Tsutajū’s Kōshodō are now one of a piece. Tsutajū, somewhat exasperated, thanks them but explains that Harumachi is ever so serious and not susceptible to their blandishments. Much like the now deceased Daimonjiya, the bigwigs get all riled with anger with the implication that they are not serious.

Back at the Kōshodō that evening, Utamaro sees Tsutajū going through old aobon looking for ideas to entice Harumachi, and asks if he can look at them too. Utamaro tells Tsutajū that he likes the illustrations, because they have a particular flavor. With skill, one can become a competent artist, but it’s an innate talent to have a special flavor.

Meanwhile at the Tsuruya, he asks Harumachi if he wouldn’t rewrite his Kinkin Sensei, since he doesn’t have a concept for a new book. Harumachi doesn’t like to do the same thing twice, plus he thinks it would be disrespectful to his readers. Tsuraya tells him that all that matters is that it is amusing making the readers laugh, all that intellectual stuff is now out of style. Harumachi tells him that, then it would be better to ask Shiba Zenkō. Angered at being called out-of-date and stale, and not allowed to write what he wants, Harumachi stands up and leaves.

At Suwaraya’s not long after, there Tsutajū has learned from him that Harumachi seems to have quit Tsuruya’s. Ichibei suggests to him that now might be the time, since he saw Harumachi leaving Tsuruya’s like he was coming from a funeral. Tsutajū thinks that Harumachi working with Tsuruya could produce an amazing work together, but Ichibei tells him that the two being both strong-willed are only the more likely to butt heads. As Tsutajū leaves, Ichibei murmurs to himself that Tsutajū is certainly one to ride the wave. Just then, Urokogataya’s chief clerk Tōhachi arrives, asking him to continuing his patronage of the Saiken now that Uroko has turned it over to Nishimuraya. Ichibei gives him a perplexed look.

Back at the Urokogataya, Uroko is still packing up when he sees one of his old woodblocks that survived a fire. Harumachi then arrives with a manuscript he wants Uroko to review for him, at which Uroko confirms that such lofty literary pieces are no longer in style. Harumachi tells him that he doesn’t want to rewrite his Kikin Sensei, as Tsuruya suggested, especially since it wasn’t his concept in the first place, Uroko having given him the concept of the book. Uroko assures him that it was only that one book, all the rests were his own concept. Uroko volunteers to tell Tsuruya himself to let Harumachi go so he can write what he wants. Harumachi explains he can’t do that since he’s already received payment that he can’t return if Tsuruya suddenly asks for it back. Muttering, never mind, he just had a moment of weakness, Harumachi gets up and leaves.

Tōhachi then enters, ushering in Suwaraya with surprising news. Ichibei explains that when he ordered 500 copies of Uroko’s Saiken that was at the behest of Tsutajū, who took to heart Uroko’s words demanding that Tsutajū give him back his business, but all Tsutajū could do in recompense was lend support. Having learned this, Uroko decides that he in turn would like to do something to lend support to Tsutajū.

Back at the Kōshodō, Tsutajū is consulting with Kisanji about how to get Harumachi on board with him. Kisanji doesn’t think that any enticements that Tsutajū might offer would win Harumachi over, although he also doesn’t think that Harumachi and Tsuruya are a good match. Tsutajū asks Kisanji how Harumachi goes about writing, and Kisanji tells him that Harumachi dithers about every little detail, when either one would do just fine.

Just then, Chōbei (Uroko’s eldest son) enters, asking if the young man isn’t Karamaru, who explains that he’s an apprentice by the name of Utamaro. Tsutajū walks up agreeing that Utamaro does resemble Karamaru, which is why he took him on. Anyway, Chōbei hands Tsutajū a missive from his father, which Tsutajū whips open to find that it’s a request from Uroko to take on Harumachi, since Uroko thinks that Harumachi working for Tsuruya will only lead to his failure. In addition, it is Tsutajū who can come up with a concept that no one’s done before. Kisanji adds that a novel concept is the only way to entice Harumachi, and also Tsutajū has to emphasize that he wants Harumachi in particular to write it. Chōbei furthermore suggests that pressure must also be applied on Harumachi by Kisanji.

Back at the Urokogataya, Uroko receives Tsutajū’s response from Chōbei, which asks Uroko for help thinking up an original concept that would appeal to Harumachi. Uroko throws off his haori jacket in enthusiasm, getting right to work on it.

Meanwhile at the Kōshodō, Tsutajū along with Ritsu, Utamaro, and Kisanji try to come up with a subject that’s never been done before, checking against old aobon, but everything they can come up with has already been done, as Tsutajū crosses out their ideas in his notes one by one. Utamaro then suggests that they think in terms of the illustrations, what they’d like to see depicted. Tsutajū imagines the male hairstyles of the future, and comes up with the idea of Edo a 100 years from now.

Shortly thereafter, Kisanji sets up a meeting with Harumachi, but when Kisanji spots Tsutajū there, he gets up to walk out. Tsutaju calls to him, how about the subject of Edo a 100 years from now, something that nobody’s seen before? While intrigued, Harumachi tells him he can’t do that because he has to work for Tsuruya, but Tsutajū tells him he doesn’t mind, he can write it for Tsuruya. Harumachi says that would be no good either, because it would be like a thefting an idea, so Tsutajū should ask someone else to do it. Tsutajū insists he wants to see Harumachi’s treatment. When he read Harumachi’s Kotoba tatakai atarashii no ne, he could never have imagined puns and witticisms becoming monsters, no one could ever have thought of that but him [published by Urokogataya, see eps. 13]. Harumachi asks if Tsutajū really wants him, since his works are old-fashioned and stale, but Tsutajū assures him that there will be nothing timeworn about it when writing about Edo a 100 years in the future. Kisanji adds that no doubt Uroko would like to see his result, actually Uroko would probably be the one most excited about it.

Meanwhile at the castle, under a waxing or waning moon, the shogun raises from bed with his young consort. In the morning, to the sound of drums in the background, Okitsugu walks through the grand corridor for an audience with the shōgun. The shōgun announces to him, that he does not wish to have another son. Okitsugu explains that Chiho’s poisoning was just a scheme to maintain her position. The shōgun realizes that, but still it was a cry for help. Okitsugu ascertains whether the shōgun is really fine with the next shōgun not being directly related to him by blood. The shōgun explains how all his family is weak and sickly, and he doesn’t want to lose another child. So, he can only do two things, adopt a son so as to not to lose another life, and secondly protect Okitsugu, who along with Takechika, were advisors from his father’s era and fostered the prosperity of Edo. The shogun wants to go down in history for enabling that and protecting Okitsugu. Okitsugu, touched by the shōgun’s words pledges to devote his life to him.

Back at the Urokogataya, Harumachi has come to apologize for deciding to work with Tsutajū. While overjoyed at this outcome, Uroko nevertheless maintains the farce, chiding Harumachi for working for that thief.

Later, talking to Tsutajū at the Kōshodō, Uroko thinks that maybe he should have told Harumachi the truth, that he actually wanted him to work with Tsutajū. But, Tsutajū says that would only have made Harumachi waver all the more. Uroko apologies to Tsutajū, because now the town book publishers will revile him even more for stealing Harumachi. Tsutajū tells him not to worry about him, he’s glad to get Harumachi who will contribute to the success of his shop, rather Uroko needs to worry recovering himself. Uroko apologizes to Tsutajū for his previous misdirected blame he put on Tsutajū, for it wasn’t Tsutajū’s fault but his own lack of metier, but it was the only way he could keep on going. Tsutuju says, its not like he didn’t try to supplant Uroko, and Uroko says but you did contribute to my support [by ordering the 500 copies of the Saiken through Suwaraya]. But there was the Tomimoto case [when Tsutajū did beat out Uroko in acquiring Tomimoto’s “jiki-den” (direct-transmission) booklets of his jōruri scripts, see eps. 12.] In any case, they both agree that they were each just trying to accomplish what they wanted.

When Tsutajū then asks what Uroko plans to do from now on, he tells him he plans to open a small shop. Tsujuju asks whether he no longer make aobon, and Uroko tells him, it’s a gamble, who knows.

Uroko suddenly says he has something he’d like to give Tsutajū, but if he doesn’t want it just say so. As it turns out, it’s that one woodblock that survived the fire. Uroko tells Tsutajū that since he’s the one who spurred him into producing aobon, he’d like him to have this woodblock. Tsutajū recognizes the block immediately, from the akabon, the Shio-uri Bunta. Tsutaju tells Uroko that it’s the first book he ever bought, using for first NY’s money-gift he’s received from Surugaya; he was so thrilled, he wrote his name in the back. [It’s also the book he gave Segawa when they were children]. Uroko says, who’d have thought that some kiddie who just happened to buy my book would go on to become a bookshop himself. As the two of them wipe away tears, Tsutajū promises to treasure the woodblock, while Utamaro looks on happily from the side.

On a following day, Uroko goes to Tsuruya with Harumachi to apologize for Harumachi transferring to Tsutajū. Tsuruya says that since Harumachi has already apologized, he needs no further apology, but he still doesn’t think it was necessary for Harumachi to transfer to the Kōshodō, were it but for the money. Nishimura vows to take revenge by ruining Tsutajū’s Saiken. The narrator adds that, thereafter Uroko left Nihonbashi [Ōdenmachō; he later opened a small shop in Ningyōchō (also in Nihonbashi)].

Under the cherry blossoms in full bloom at the fox shrine, Tsutajū prays for Uroko’s success with his new shop, when suddenly Tagasode (formerly, Kaori) comes up behind him and clasps her hands over his, adding her prayer that her love meets with success. Tsutajū throws her off, saying that’s not appropriate in a shrine precinct; the fox-god would be angry. Tagasode says don’t worry, we’re to become husband and wife, showing him the promissory that Daimonjiya wrote giving permission for Tsutajū to mi’uke her for 500 ryō. Tagasode had ‘helped’ Daimonjiya write it just before he died. Tagasode tells Tsutajū that all he needs to do now is amass the 500 ryō. As she prays for his success in doing so, Tsutajū stomps off to return to the Kōshodō.

Jirobei rushes out to show him a new publication, Kikujusō (菊寿草), written by Yomo Sanjin (四方山人), aka Ōta Nanpo (大田 南畝, 1749 –1823), a review comparing the most recent publications. Tsutaju exclaims, Oh, that sleepy-head-sensei (Neboke-sensei, 寝惚先生), recalling he was highly praised by Gennai. Inside it, Tsutajū’s finds that his Miru-ga-toku issui no yume (見徳一炊夢), [written by Kisanji after the dream he had, eps. 18], was the most highly rated, given the first prize. Thrilled, Tsutajū shows it to Kisanji and Harumachi.






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NHK Synopsis of upcoming eps. 20: 「寝惚（ぼ）けて候」　
https://nhkworldpremium.com/en/episode/364492


Historical Drama "UNBOUND" Eps. 20
Sun, May. 25 20:00-20:45
Mon, May. 26 5:00-5:44 Sat, May. 31 13:05-13:50

In "Kikujusou", a critical review written by Ota Nanpo (Kiritani Kenta) of kibyoshi, a genre of illustrated fiction, Tsutaju, who has received high praise for his latest book, visits Nanpo's house with Suwaraya. There, he learns about kyoka, a humorous form of waka poetry that has recently gained popularity, and receives an invitation from Nanpo to attend a kyoka gathering..

≪あらすじ≫
第20回「寝惚（ぼ）けて候」
『菊寿草』で『見徳一炊夢』や耕書堂が高く評価された蔦重（横浜流星）は、須原屋（里見浩太朗）と大田南畝（桐谷健太）の家を訪ねる。そこで近頃、江戸で人気が出ている“狂歌”を知った蔦重は、南畝から「狂歌の会」への誘いを受ける。一方、意次（渡辺 謙）は、家治（眞島秀和）が次期将軍に一橋家の豊千代を、御台所には種姫を迎える意向であることを治済（生田斗真）に伝え、将軍後継問題は決着するかに思われたが…。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 18 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 18: Utamaro! & The “Dream within a dream” book (Mirugatoku issui no yume)「歌麿よ、見徳は一炊夢（みるがとくいっすいのゆめ）」
(originally aired on NHK May. 11 (Sun)　

As was last seen, Tsutajū is pondering the prints signed by a “Toyoaki,” and recalls Karamaru copying over the print sketches destroyed when a cat knocked over a vase of water on them [eps. 4]. Tsutajū decides to seek out this Toyoaki, who’s apparently fond of gambling, but the man at the gambling den is not who Tsutajū had imagined.

Back at the Kōshodō, Tsutajū asks Maa-san (Kisanji) to write 10 new books for him for the coming year. Maa-san says that’s impossible, Tsutajū should ask his other new writers, but Tsutajū tells him that they all quit, once they realized how difficult creative writing was. Tsutajū asks him how many could he write, and Maa-san replies about 3. Tsutajū enquires, but what if Maa-san could stay overnight long-term at the Yoshiwara, with a change of bordello and oiran with every book he finishes, starting with Matsubaya, then Ōgiya, Daimonjiya, … Maa-san decides he can write 10 books after all.

[i’tsuzuke (居続) is staying over at a bordello on consecutive days without leaving, occasionally allowed for certain trusted customers. Changing from one oiran to another is also not normally permitted.]

Next thing you know, Maa-san is happily ensconced at the Matsubaya, attended by Ine (the madame) and Matsu-no-i (the oiran), who is feeding him summertime “kudzu-kiri” (葛きり) noodles while he writes. [Spoiler alert: Notice the motif on the collar of Maa-san’s nagajuban (under-kimono). The repeating-triangle pattern, called uroko (鱗), represents the scales of a dragon or snake, typically supernatural phantasms.]

Meanwhile at the Kōshodō, Ritsu is worried whether Tsutajū can really afford Maa-san’s long-term stay at the Yoshiwara, but Tsutajū should be able to pay for it through the profits of Kisanji’s books. Ritsu wonders whether “aobon” really have such weight, but as Tsutajū explains, they are de rigueur lucky-charms for the New Year. Behind the two, Jirobei is fooling-around slurping soba noodles. Jirobei and Hanjirō (the soba-shop guy) are practicing a “ni’nin-baori” (二人羽織) performance; Hanjirō nestled on Jirobei’s back is hidden in a haori jacket and using his hands to eat the soba noodles he can’t see. These two wish to use this for an eating competition at the next Niwaka festival. This two-man act sets Tsutajū to thinking about the possibility of a sub-rosa artist.

Shortly thereafter, at a rundown row-house, an older man (Toyoaki) arrives to collect the finished sketches, and tells the young man (Sutekichi) that Nishimuraya will be pleased. Furthermore, Jakuren(寂蓮), a nun, will later arrive for his services. Immediately after, Tsutajū comes to the door, and recognizes Sutekichi as Karamaru. However, Sutekichi refuses to admit he knows Tsutajū. The nun then appears, and telling Tsutajū that one of his customers has arrived, Sutekichi slams the door on him.

〈After Opening Sequence〉

Seeing the nun out, Sutekichi finds a print sketch left on his doorstep, and mumbles to himself that it’s the one from back then. Tsutaju overhears him, but Sutekichi still refuses to admit that he’s the one who made that sketch. Tsutajū tells him that he just saw Toyoaki come empty-handed, but leave with print sketches, so he (Sutekichi) has to be the one who drew them. Tsutajū implores Sutekichi to tell him about his situation, because Tsutajū wants to help him, but Sutekichi tells him that his current lifestyle suits him just fine. Tsutajū asks him if he wouldn’t work for him, he doesn’t have to let Toyoaki know, assuring Sutekichi that he would pay him well. Sutekichi throws him out, telling Tsutajū to leave him alone. Tsutajū picks up a sketch, and saving it in his breast fold, leaves saying he will come again. A man sitting outside in the alley, asks Tsutajū if he’s an old lover of Sutekichi’s, since Sutekichi takes johns. Tsutaju in turn asks the man about the older guy [Toyoaki], a 50-ish samurai, who comes frequently, and is told that the man has set Sutekichi up to take tricks in return for providing for him, since Sutekichi has no form of registered identification.

Tsutajū walks back to the Kōshodō mulling over what he has learned. Matsubaya is waiting there, with Fuji and Jirobei. Fuji explains that Maa-san’s “stylus” has stopped working. Not that Maa-san has stopped writing, but the other “stylus” further down. Maa-san has apparently come down with kidney ischemia (jinkyo, 腎虚), thought to be caused by overindulgence in sex. Matsubaya says that Maa-san looks like the world has come to an end for him, and Tsutajū adds that for Maa-san the lower “stylus” is certainly the one of more importance.

They all go to check on Maa-san’s condition in a reception room of the Matsubaya. After examining Maa-san, the doctor assures them that Maa-san will soon be back to normal if he takes a rest. Maa-san is worried that because he fooled around so much in his youth, that now his equipment has worn out at an early age. The doctor assures him that’s not the case, as someone brings in some medicine. Maa-san doesn’t want any more medicine because he’s already taken medicine for virility, which hasn’t helped. The doctor tells him that medicine didn’t agree with him, but he’s made something special for his condition. Tsutajū adds that the doctor’s medicine has made a man virile even to the old age of 80s. After Maa-san drinks it up in almost one gulp, Matsu-no-i takes him back to bed to rest. After Maa-san leaves, the doctor explains to them that it’s just sleeping medicine, because all that Maa-san needs is rest, and if he still doesn’t recover, then he really does have kidney ischemia, and there’s nothing the doctor can do about that.

After the doctor leaves to look after someone else in the bordello, Tsutajū muses that sex really does wear one down, whether male or female. Ine (madame of the Matsubaya) agrees, saying men come down with kidney ischemia and women die before their time. Tsutajū asks her if it’s possible that someone would enjoy working in the sex trade, like a man who sold his body because he liked sex. Ine wonders if he is enquiring for a subject of a new work of fiction, but tells him she can’t say definitively not, but she has heard of cases where some do it as a form of self-punishment, thinking they deserve it for being the fault of the death of a parent or lover. Tsutajū recalls Sutekichi saying that his lifestyle suits him.

At the midnight hour, when the gates of the Yoshiwara close, Maa-san lays in bed dreaming. He hears Matsu’s voice waking him up, as she cuddles against him. He tells her, she is always so kind to him, and she tells him, she likes listening to his amusing stories. Suddenly the sound of clappers announcing the start of a play. Maa-san sits up watching his “stylus” grow ever larger, turning into a giant demon snake. His sexual desire has gone rampant, running through the bordello in the form of this ever more engorging monster. The doctor chimes in that the only thing to be done is to cut it off at the source. [Eeks!] Ine appears with a colossal sword, saying leave it up to her, for a man would be hard-put to carry it out. Tsutajū holds him down while Matsubaya assures him that whatever happens he’ll always be welcome to stay at the bordello for as long as he likes and Matsu too reassures him that she will continue to take care of him no matter what. Just as Ine slices of the head, Maa-san suddenly awakens from this nightmare. There, Matsu is contentedly sleeping beside him, but his “stylus” is still inactive, making Maa-san wish his condition was also just but a bad dream. Nevertheless, he is inspired about a story of a dream within a dream, and gets up to start writing it.

〈Halfway Point〉

Back at the Kōshodō, Tsutajū mulls over Karamaru’s work-apron, which Fuji observes from behind, before telling him that she’s bout to leave for the night. Tsutajū then sets Karamru’s portable brush & ink set on the apron.

・Sutekichi (Karamaru) tells of his unfortunate past and how he learned to draw

Back at the row-house, Sutekichi (Karamaru) is remembering how his mother treated him as a child and how he came to be standing dazed before the burning building in the Yoshiwara, when a customer comes knocking. Somewhat later, Tsutajū comes calling, and throwing the door open, finds Sutekichi passed out on the floor half naked. Tsujitu brings him to and as Sutekichi embarrassedly wraps himself in a robe he explains that the customer likes its rough. Tsutaju tells him that with the slightest err, he could’ve died, but Sutekichi just says that the customer knows how far to take it. Tsutajū then asks him if he thinks this lifestyle is fine for him because he wants to die. Sutekichi demands what could Tsutajū do about it if it were true. Tsutajū tells him that he regrets not pressing Sutekichi for more details on his past and what had happened to him.

Sutekichi the reveals his past to Tsutajū. His mother was a yotaka (夜鷹) streetwalker, who tried many times to abort him and resented his very existence telling him that he was a son of an ogre who couldn’t die. When he was 7, she turned him out to take tricks, saying he had to earn his keep. At first his mother turned kindly because of the money he brought in, even offering him her bosom, but when she learned that her lover used that money to buy another woman, she beat him up.

Cooling off the bump on his forehead with the well water, he meets an old man sketching supernatural creatures in the sand. The old man, the famous artist of monsters Toriyama Sekien (鳥山石燕), first mistakes Sutekichi as a three-eyed monster, but then insists he too draw the supernatural creatures surrounding them. Sutekichi seeing no such monsters, just imitates Sekien’s sketches. Sekien recognizing Sutekichi’s talent invites him to become his pupil, but of course his mother would not allow it, telling Sutekichi that it’s now his turn to support her.

When the fire occurred in the Yoshiwara, his mother was trapped in a fallen building. She grasped his leg telling him again that he’s just the son of an ogre who sucks the life out of others. Sutekichi pulls ways from is mother’s grasp, promising to seek help, but thinking that if things go on as they are, she will eventually kill him, and just stares at the burning buildings wanting to escape from it all.

After being rescued by Tsutajū, Yoshiwara was like a dream to him where he could reinvent himself as Karamaru. But the world is not such a forgiving place, and when Yasu (his mother’s lover) turned up again, Sutekichi thought to put an end to it all by dying with Yasu when he pushed him into the river. Nevertheless, he lived through that too. Although Tsutajū says he wants to help him, he’s just garbage that shouldn’t be saved, and it would be better if he could just disappear from the world.

After hearing is story, Tsutajū says he can’t save him, but he can lend him a hand if he wants to live on. In lieu of dying, he can make recompence by serving out his life by making print sketches for Tsutajū. Despite his past, and the misfortunate end of Yasu, Tsutajū doesn’t think he is a bad person and is glad he lived. Tsutajū hands him his old portable brush & ink set he’d used in the Yoshiwara, and after remembering his mother’s bullying again, runs back with Tsutajū to return to the Yoshiwara.

・Tsutajū arranges his return, with a certificate of identity

Fuji is eating “kudzu-kiri” at her managerial desk with Jirobei seated before her, when they hear a door slam open and Ichiemon yelling at Tsutajū about his request for Ichiemon to adopt Sutekichi (Karamaru). After Ichiemon throws Tsutajū down the stairs, Tsutajū begs him to show the same kindness to Sutekichi and he had him, taking him in long ago. Ichiemon is worried what will happen if Sutekichi is recognized as Karamaru, but Tsutajū insists he looks completely different now, and anyway, everyone already thinks he’s dead.

Just then, Fuji walks up to them handing Tsutajū a certificate of identification that she had applied for at the Shirobei Office (the self-governing administration of the Yoshiwara). Ichiemon still refuses (Dame-da, dame-da!), but Fuji stomps on him saying that it’s for Tsutajū who long awaited Karamaru’s return, whatever may ensue they will somehow be able to manage it. Fuji waves Tsutajū away behind her back as she continues to explain to Ichiemon that she understands his concern about what may happen to Tsutajū and the Yoshiwara. After whispering his thanks Tsutajū runs off to his Kōshodō.

[photo: Fuji at Shirobei Office]




There, Toyoaki is trying to take Sutekichi back, saying that he’s the one who’s always taken care of him. Tsutaju steps in explaining that Sutekichi is actually his foster brother (義弟), at which both Toyoaki and Jirobei look at him in surprise. Tsutajū turns to Jirobei asking him, don’t you remember that child that Surugaya Ichiemon adopted, who was the son of the deceased jorō Tamano (玉野). Jirobei says he has a faint memory of him suddenly disappearing. Tsutaju adds that the child was good at drawing, so when he saw the sketches, he immediately thought they must be by Yūsuke (勇助). Toyoaki refuses to believe it, but Tsutajū shows him the certificate of identification, and when Toyoaki asks him if it is true, he says he can’t really remember, but when called Yūsuke it has a nostalgic ring to it.

Toyoaki suddenly asks Tsutajū if he can give him work as a writer, having seen the advertisements hanging outside the shop, since he lost a lot of money gambling the night before. Tsutajū asks him if he can really write, and he says you can bet on it.

・Tsutajū suggests the artist name “Utamaro”

Later, Yūsuke apologies to Tsutajū for already having caused problems. Tsutajū tells him not to worry, he was looking for new writers anyway. Yūsuke is concerned about keeping the certificate, because what if the real Yūsuke returns. Tsutaju assures him that he’d run off because he couldn’t put up with his adopted father and will never return. Yūsuke says it’s the first time in his life that he’s ever had an official identification.

Tsutajū abruptly suggests the artist name “Utamaro” for him. He had first thought “Utamaru,” but then considered “Utamaro” better since it might imply that he was a son of the nobility, an illegitimate son of some artist from Kyōto, then he can make prints of the O’Dairi (the residence within the palace). Yūsuke laughs at the suggestion, saying it’s unlikely that things will go so well.

Tsutaju confesses that it wasn’t just him he failed to save, but also Segawa and Gennai, and now by helping Yūsuke, he’s saving himself. He wishes to realize his promise to make Yūsuke a premier artist, so please keep living for my sake. Yūsuke laughingly concedes that he can’t go against his older brother’s wishes.

・The “oiran dōchū” of Tagasode (Kaori) & the finished manuscript by Maa-san (Kisanji)

Tagasode (Kaori) is parading on her way to pick up Maa-san, Tsutajū having received Maa-san’s finished manuscript. Tsutajū asks Maa-san how he came up with the idea for his manuscript and Maa-san credits it to his Lil' Billy. Tsutaju asks him how it’s doing now, and Maa-san replies that it’s become quite the playboy rascal. Shige (Tagasode’s house-matron at the Daimonjiya) announces their arrival, and Tagasode coquettishly tells Maa-san that she’s his next oiran, turning to invite Tsutajū to come along. Tsutaju begs off with a simple “yoroshiku.”

[photo: Kisanji's 見徳は一炊夢]

・Okitsugu presents his list of new postings & news of Chiho-no-kata’s poisoning

Meanwhile back at the castle, Okitsugu is in audience with the shōgun presenting his list of new appointments, when the shōgun yawns, apologizing for having been up all night with the young O’Tsuru, which makes Okitsugu laugh happily.

Just then, someone suddenly enters with the alarming news that Chiho-no-kata has just been found poisoned, leaving behind a message for the shōgun.

Back at the Kōshodō, Tsutajū is showing his new publications to Suwaraya, who tells him that Urokogataya is to shut down his business, even having sold off his woodblocks for his Saiken. Suwaraya sadly mutters that yet another born-in-Edo bookshop publisher has been lost.



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NHK Synopsis of upcoming eps. 19: 「鱗(うろこ)の置き土産」　
https://nhkworldpremium.com/en/episode/364492


Historical Drama "UNBOUND" Eps. 19
Sun, May. 18 20:00-20:45
Mon, May. 19 5:00-5:44 Sat, May. 24 13:05-13:50

Urokatagataya, who decided to close his shop due to financial difficulties, is in discussions about the future with Tsuruya (Kazama Shunsuke), Nishimuraya (Nishimura Masahiko), and others. During the meeting, they decide that Koikawa Harumachi (Okayama Amane), the popular writer formerly affiliated with Urokatagataya, will continue working under Tsuruya. Meanwhile, Tsutaju is devising a plan to win Harumachi over, hoping to counter the growing influence of rival publishing houses in the city.

≪あらすじ≫
第19回「鱗(うろこ)の置き土産」
経営難に陥り店を畳むことにした鱗形屋（片岡愛之助）は、鶴屋（風間俊介）や西村屋（西村まさ彦）らと今後について協議していた。その場で、鱗形屋お抱えの作家・恋川春町（岡山天音）は、今後鶴屋で書くことが決まった。蔦重（横浜流星）は市中の地本問屋たちの勢いに対抗するため春町の獲得をねらい、作戦を練っていた。一方、江戸城では知保の方（高梨 臨）が毒による自害騒ぎを起こし、意次（渡辺 謙）は事情を探っていた…。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 17 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 17: "New Beginnings, brought by the return of scattered blossoms"「乱れ咲き往来の桜」
(originally aired on NHK May. 4 (Sun)

[From Eps. 17 is akin to a Pt. II of this series. Gennai and Segawa are gone permanently, (albeit with odes to their prior contributions), while others who’ve been absent will return. Tsutajū’s Kōshodō publishing bookshop really starts to gain momentum in renown as Tsutajū makes ever more innovations.]

It is now the new year of An’ei 9 (1780). Three women in the audience are excitingly watching a play, with an actor playing Tsutajū in the 7th act on the Yoshiwara, who carries a bundle of books on his back saying, “Rushing with the Saiken” (Saiken wo isogimasu, 細見を急ぎます).

Shortly thereafter, at Tsutajū’s Kōshodō bookshop, customers are grabbing up his new books published that year. The fox-woman [in yellow ‘kimono’] appears narrating that its gained popularity through the rumors of handing books not available in the town bookstores, as she snaps a selfie with a smartphone.

An old man with child asks for the “ Makuda〜” [Tsutajū’s Date moyō mitate hōrai (伊達模様見立蓬莱)], only to learn that it is sold out, but Ritsu assures him that it is being reprinted as they speak. Jirobei tries to hand the child a children’s book, but he rejects it saying, “Yada!” The three young women who’d been watching the play appear, and ask Tutaju to say, “Rushing with the Saiken.” When he, rather questioningly does, they then run away squealing, leaving a pink kinchaku purse behind. As Tsutajū runs after them to return the purse, the narrator adds, and many come not to the Yoshiwara, but to visit they Kōshodō or lay eyes on Tsutajū, but then continue on to visit the fabled Yoshiwara. Ine and Fuji then appear to help out at the bookshop, as Ritsu sees off the old man and child. Ine tells Tsutajū that he needs to hire more help, but Tsutajū retorts, what he needs is for Karamaru to come back. Ine says it’s unlikely he’s still alive, but Tsutajū recalls him making his drawings.

[Image: The Tsutaya chaya has yellow noren curtains, and the Kōshodō bookshop (two doors down) has blue noren]

While Tanuma Okitsugu is waiting in audience, he recalls his Tea Ceremony with Takechika, who told him that they must find out who has targeted the Nishi-no-maru [residence of the heir-apparent]. Somebody [in raspberry kamishimo] suddenly appears in a burst of pink speckles, explaining Okitsugu’s audience is with Shimizu Shigeyoshi (徳川 重好), the current shōgun’s younger brother, before suddenly disappearing again. Okitsugu has come to consult about the heir-apparent issue. As he mulls over the issue, he recalls the sumo match held at the castle. Harusada defers from being named the new heir-apparent, with the excuse that it will curtail his freedom, and suggests that the shōgun has another child instead. Okitsu looks dubiously around at all the children surrounding them.

Walking along a corridor later, Okitsugu explains to Miura that neither Shimizu nor Harusada want to be named heir-apparent. Okitsugu wonders if it is odd that he had thought that anyone would want to become shōgun. Okitsugu enters his room where Inaba Masa’aki (稲葉 正明) is waiting. Okitsugu wonders what’s the urgency, as Inaba exclaims in alarm, that he’s just learned that none of the Gosanke [the 3 main branches of the Tokugawa: Owari, Kii, and Mito] have sons appropriate to provide as heir-apparent.

Leading the shōgun, Ieharu, along an exterior corridor, Okitsugu explains that there are no males in the lineage appropriate to make heir-apparent, adding that it would be best if the shōgun had another child. The shōgun is nonplussed at having another child at his age (40s), but Okitsugu assures him that nothing would better please the deceased Iemoto (Nishi-no-maru) and Takechika (Ukon-no-shōgen). Okitsugu tells him he’s made provision to that end, but the shōgun says that he doesn’t want another woman. Upon the two entering the room, Takaoka (head of the Ōoku) presents a distant relative of the deceased Midai-sama [formal primary wife of the shōgun]. The shōgun tells the girl to raise her head, surprised at how much she resembles his beloved deceased wife. Okitsugu and Takaoka look to each other, well pleased with the shōgun’s reaction.

〈After Opening Sequence〉

Tsutaju visits the woodblock carver, Shigoroku (四五六), only to hear that Shigoroku can’t work for him anymore since he’s been threatened by the town bookshop publishers. Nishimuraya had told him not to take any more requests for Tsutajū’s Kōshodō, otherwise the town publishers will stop commissioning from him. Shigoroku explains that now that the Kōshodō has become flamboyantly popular, the town publishers are all up in arms about it, and are trying to prevent Tsutajū from being able to publish any more books. Tsutajū sidles up to him to ask him in sotto voce if there isn’t any way that Shigoroku can work for him in secret. Shigoroku slaps him on the forehead, calling him a blockhead (berabō-me).

Back at the Tsutaya chaya, Jirobei tells Tsutajū that he should just commission elsewhere, for there are many other carvers available. Tsutajū explains that there is no one else as talented, and without a good carver, a book is worthless (dai-nashi, 台無し). Also, Tsutajū thinks it would not be a good idea for him to retreat at this point. Not only that, but the bigwigs would hardly accept (te’uchi, 手打ち) his making compromises now.

Just then a traveler in a straw hat arrives, who turns out to be Shinnosuke, after a three-year absence. Tsutajū takes him over to the Kōshodō where they can talk in private in a back room. Shinnosuke explains that he went to where Gennai’s remains were buried, but there’s no proper grave yet. Thanks to Gennai’s help (tsute-de, ツテで), Shinnosuke found work as a farmer in the countryside. [Indeed, Gennai did know where Shinnosuke was all along.] Because so many have left the countryside to find a better life in the city of Edo, farmers are accepted even if they don’t have proper registered-identification. Shinnosuke says that O’Fuku, Utsusemi’s real name, seems happy there, the life apparently agreeing with her.

Tsutajū asks if Shinnosuke’s bundle is full of souvenirs to take back to his beloved wife, but it’s actually full of books the villagers had asked him to bring back for them, and Shinnosuke would like some from Tsutajū too. When Tsutajū asks Shinnosuke to show him what books he’s gotten, he finds that they are mostly “ōrai-mono” (往来物), learner-books for children. Shinnosuke explains that when he has free time, he teaches reading and writing, and the use of the soroban (abacus) to the local children. Tsutajū asks him how books normally reach his rural area. Shinnosuke tells him that the variety stores (koma’monoya, 小間物屋) carry a few, travelling salesmen bring some when asked, occasionally bring secondhand booksellers come from town, and sometimes book-lenders come through. Tsutajū notes that there is no direct channel from the bookshop publishers to the countryside.

Tsutajū then consults with the bigwigs at Surugaya. Daimonjiya is against the idea of Kōshodō publishing “ōrai-mono” learner-books, since almost all bookshops already produce them. Chōjiya asks, what do you expect to accomplish with that?! Matsubaya adds, it’s ridiculous for a book publisher of the pleasure quarters to produce children’s learner-books. Ōgiya demands, where’s the profit to be had? Tsutajū explains to them that unlike the latest-sellers, ao-bon or share-bon, once the woodblocks have been carved, the books can be republished indefinitely. Daimonjiya yelling back, grabs his chest and starts to cough in mid-statement, even so, since all the other shops already carry learner-books, you’ll have no place to sell them. Tsutaju tells them, he has thought of the one way to succeed but needs their help, as Ichiemon looks on at him dubiously.

Shortly thereafter, the bigwigs help Tsutajū by introducing him to various men of import or instructors who are frequenters of the Yoshiwara. Ichiemon leads Tsutajū to Hasegawa of Echigo, who is a wealthy village headman and farmer. This Hasegawa is impressed when shown one of Tsutajū’s Tomimoto-jōruri practice books (冨本の稽古本). Tsutajū then explains that he wishes to start producing “ōrai-mono” learner-books, and has come to seek his advice. Tsutajū whips out his brush and paper to take notes, as Hasegawa enthusiastically starts to give suggestions on farming instruction. Matsubaya, for his part, introduces Tsutajū to Kumano, who is a wealthy merchant and guild leader. There, Tsutajū asks him for advice on how to improve the learner’s handbook on business, the Shōbai-ōrai (商売往来). At a soba-noodle shop, Chūshichi (Nishimuraya’s clerk) is eating noodles as Koizumi Chūgorō (the Asakusa publisher) arrives and hides his face when Tsutajū shows up. There, Chōjiya introduces Tsutajū to the instructor who teaches the jorō and kamuro in the Yoshiwara, who tells Tsutajū that the learner’s books have too much vocabulary seldom used. Once his manuscripts are finished, Tsutajū then brings them to the woodblock carver, Shigoroku.

In the meeting room at the rear of Tsuruya’s, Murataya exclaims in surprise, Tsutajū is now attempting to publish “ōrai-mono” learner-books?! Where does he think he can sell them?! Nishimuraya suggests they must be learner-books for the jorō at the bordellos, at which all laugh merrily. Only Tsurya looks concerned, asking Nishimuraya were he got his information. Nishimuraya, of course heard it from Chūshichi, who spotted Tsutajū at the soba shop and learned that Tsutajū was asking frequenters to the Yoshiwara, like the instructor at the soba shop, for advice on writing learner-books. Just as someone is saying it doesn’t matter because no one will carve the woodblocks for Tsutajū to prints his books, Okumura Masanobu (奥村正信) arrives late, saying he had just gone to Shigoroku’s to commission a block-carving for his surimono (privately commissioned print), when he was turned down, with Shigoroku saying his hands were already full. At which, all look to each other in shock.

Shortly thereafter, Tsuruya pays a visit to Shigoroku, where he is busily carving Tsutajū’s leaner-books. Tsuruya, of course, demands that Shigoroku stop taking orders from Tsutajū or else, but Shigoroku tells him that he doesn’t need commissions from the town publisher’s any more, since Tsutajū promised him 20 ryō per year. Tsuruya doubts that Tsutajū will have all that many publications to have carved for printing. At which Shigoroku tells him, it doesn’t matter, 20 ryō per year is still enough to live on.

Tsuruya then reports back to the town bookshop publishers, where they all discuss how Tsutajū has monopolized Shigoroku with a commission of 20 ryō per year. They realize the possibilities of over 100 types of learner-books that Tsutajū could publish, and even if Tsutajū doesn’t commission 20 ryō worth of work, since the learner-books can be reprinted indefinitely, it won’t put him in a financial hole. They think that with the town bookshops already handling a full array of learner-books, Tsutajū will have no where to sell his. Tsuruya is less sanguine, and warns them to protect their interests, leaving no opening for Tsutajū by flooding the market with learner-books and safeguarding their own authors, artists, and market outlets from him.

Tsutajū goes to Shigoroku’s to check on the woodblocks, where Shigoroku is warming his stiff fingers over a brazier. Tsutajū thanks Shigoroku for using the hardwood cherry for carving the blocks. Shigoroku tells him that he used the cherry hardwood because clearly carves characters are crucial for learner-books. Tsutajū is moreover pleased, since they can be printed infinitely. Shigoroku calls him a blockhead (berabō), telling him that they will need to be recarved in five years. Shigoroku is worried abut where Tsutajū is going to sell them, since he’s heard that the town bookshop publishers are purposely flooding the market. He further explains that each woodblock is like a daughter to him, and worries whether they will be duly appreciated. Tsutaju assures him that these woodblocks have a mountain-load of fathers to ensure their success.


Meanwhile at the castle, Okitsugu is in audience with Takaoka (head of the Ōoku ladies’ quarters). When Okitsugu tells her how surprised he was that she found a near twin to the deceased Shōgun’s wife, she explains how she learned of her from close acquaintances in Kyōto. Takaoka warns Okitsugu that it’s likely to soon come to the ears of Chiho-no-kata, but Okitsugu assures her that after the death of her son and Takechika, she has lost her backers.

At the Nishi-no-Maru, Chiho-no-maru is talking to her son’s memorial tablet, telling him that the shōgun no longer comes to pay her a visit, and he’s forgotten all about her son, Iemoto. O’saki reassures her, that he’s not been forgotten. When Chiho asks her if she’s heard something, she says it’s just a rumor but …

Elsewhere, Harusada is before his Noh stage playing with a puppet, telling it that it must be feeling sad to be all alone.


Back to Tsutajū, he with Surugaya Ichiemon backing him up, goes around to all the various men who advised him on his learner-books, presenting them with copies. All of them wish to promote the books they had a hand in creating, either by buying more copies to distribute or finding more places to distribute them. Of course, this was what Tsutajū was aiming for when he asked for their advice; finding backers who were personally invested in their success.

The median of the main boulevard of the Yoshiwara is planted with blossoming cherry trees, brought there as an attraction for the season, only to be removed again once the blossoms scatter. As Tsutajū stands there remembering Gennai’s words about his Kōshodō, “his publications will be groundbreaking, and make the world a more bounteous place,” Kaori (now Tagasode Oiran) runs up to him and hugs him from behind, saying she’s heard of his success with his learner-books. Tsutajū chides her, saying that she’s no longer a child who can be fooling around like that, and should hurry up and return to her bordello. As Tsutajū turns to walk away, she grabs his sleeve asking when he is going to “mi’uke” her (buy out her contract to the bordello), since surely with his success, he should be able to do so soon. Tsutaju reminds her that it is forbidden for the men and women belonging to the Yoshiwara to have relations. She retorts that it’s Tsutajū who’s always coming up with new innovations, so surely, he can change that convention too, with the strength of the love of the two of them. Just then Shige comes up behind, beating Tsutajū on the buttocks with a pole used for blocking a door. She humorously apologizes, saying that she’s can’t beat the oiran’s buttocks red, and turns to threaten Tagasode that she’ll break Tsutajū’s buttocks in two if she doesn’t immediately return with her. Tagasode retorts back that buttocks are by their very nature already split in two. Back at the Daimonjiya, Ichibei is yelling, upset about where Tagasode has disappeared to, when he loses his breath and collapses.

At Tanuma’s, Sano Masakoto (佐野政信) arrives seeking an audience with Okitsugu. Okitomo, Okitsugu’s son, explains that Okitsugu is currently in absentia (while paying a visit to his own domain). When Sano Masakoto disappointedly says, again? Okitomo remembers that Okimoto had come some time ago with a genealogy scroll (keizu, 系図) that Okitsugu could alter to make the Tanuma pedigree look more prestigious, which Okitsugu had thrown in the pond exclaiming he needed no such thing [see eps. 6, towards the end]. Masakoto says his father was wondering what became of the genealogy scroll, and anyway wants to send a gift in celebration of the completion of Okitsugu’s castle in Sagara.

Meanwhile at Sagara, which has become a prosperous town with flourishing commerce. As Okitsugu is being shown around, Inoue Iori (井上 伊織) explains to him that it’s because of the improved harbor, and Miura adds, and the new Tanuma Kaido road linking it to the great Tōkaidō highway. When Okitsugu notices the carts carrying bundles of wax, Inoue further explains how wax has become one of the famous products of Sagara. Suddenly a group of men run up seemingly threateningly, but all they wanted was to meet Okitsugu in person and express their gratitude to him for bring prosperity to the town.

Later, on the veranda of the Sagara castle, Okitsugu is enjoying katsuo tuna fresh from the bay. Okitsugu is assured that there are none not fully satisfied with his governance; farmers now have income besides rice, commerce and trade is thriving due to the construction of the bay and the Tanuma Kaido, income to the domain’s coffers has increased, and the castle was able to be built with raising the farmer’s rice tribute. Okitsugu explains that it was Gennai’s idea to grow haze trees to produce wax. Okitsugu had thought it would be best to build the castle and Kaido road first, but Gennai insisted that it was paramount to first create local products to improve the prosperity of the local populace. Now that Sagara has become the prosperous domain that Okitsugu and Gennai had envisioned, Miura wishes he could show it to Gennai.

Back home at the Tanuma estate in Edo, Okitsugu and Miura are working on rearranging the office holders for the various government posts, in order to improve the prosperity of Edo city and the provinces in a manner similar to Sagara. His son, Okitomo, asks if he wouldn’t promote Sano to a good position in his schematic. He shows the young cherry tree that Sano had gifted in celebration of the new Sagara castle. When Miura says they have nowhere to plant it as the garden is already full, Okitsugu tells them just to tell Sano they’d planted it and give it away to some temple. Okitomo protests, and reminds Okitsugu that if Sano asks for the return of the genealogy, they can’t give it back (since Okitsugu threw it in the pond), so at least he should add Sano to a good position in his plan. Okitsugu mutters that he will, if they have some leeway … [This will no doubt come back to bite him.]

Meanwhile at the Kōshodō, Tsutajū is looking at a map of the provinces. When Jirobei asks what his is doing, Tsutajū says he’s looking for new outlets to sell his books. Jirobei tells Tsutajū that he’s changed. Tsutaju then explains that he’s gotten this far with the help of some many people – Jirobei himself, the bigwigs’ support, Maa-san (Kisanji), Gennai, Segawa, even Karamaru – that all he can due is try to make his bookshop the best in the land. Jirobei then starts singing praise of Tsutajū’s Kōshodō in a terrible voice.

Back at the meeting room at the rear of Tsuruya’s, the town bookshop publishers are discussing how Tsutajū was able to sell his learner-books through channels to the provincial countryside, laughingly adding that Tsutajū still didn’t manage to find any more places where he could sell in the city. As Tsuruya looks on concerned, Maruya Kohei (丸屋 小兵衛) enters, exclaiming that he’s lost his teaching instructors [who wrote his learner-books]. Tsuruya warns them once again to take care that they don’t lose those they rely on (authors, artists, etc.) to Tsutajū. Urokogataya, from a place slightly removed, overheard a discussion of how Tsutajū managed to gain support [for his learner-books] from the frequenters of the Yoshiwara.

Back at the Kōshodō, Tsutajū is packing away various “ao-bon,” when Fuji asks him about the one written by “Shōsendō” (松泉堂). Tsutajū explains that the author is really Nishimuraya himself, since the town publishers are at a loss for writers. Fuji then wonders who the illustrator might be, and Tsutajū sees that it says by a Kitagawa Toyo’aki (北川豊章). Tsutajū searches through previous examples, a Shunshō style by a Toyo’aki and a Koryūsai style by a Toyo’aki. He then recalls advising Karamaru to first draw an oiran in the style of Harunobu, then the same oiran in the style of Koryūsai, then in the style Shigemasa [see eps. 5], wondering if it could be him.

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NHK Synopsis of upcoming eps. 18: 「歌麿よ、見徳は一炊夢」　
https://nhkworldpremium.com/en/episode/364491


Historical Drama "UNBOUND" Eps. 18
Sun, May. 11 20:00-20:45
Mon, May. 12 5:00-5:44 Sat, May. 17 13:05-13:50

Tsutaju, who has been looking for a writer for his blue book, compares a few pictures drawn by the artist Kitagawa Toyoaki (Kato Toranosuke), and a thought comes to mind. He promptly visits Toyoaki, but in the tenement house, he meets a man named Sutekichi (Sometani Shota). Meanwhile, Tsutaju asks Houseido Kisanji (Omi Toshinori) to write the new blue book. Although Kisanji begins writing under special treatment that allows him to stay consecutively at the brothel, after a while, his pen comes to a halt.

≪あらすじ≫
第18回「歌麿よ、見徳は一炊夢」
青本の作者を探していた蔦重（横浜流星）は、北川豊章（加藤虎ノ介）という絵師が描いた数枚の絵を見比べるうちに、ある考えが浮かぶ。早速、豊章を訪ねるが、長屋で出会ったのは、捨吉（染谷将太）と名乗る男だった。そんな中、蔦重は朋誠堂喜三二（尾美としのり）に、新作の青本の執筆を依頼する。女郎屋に連泊できる“居続け”という特別待遇を受けて書き始めた喜三二だったが、しばらくして喜三二の筆が止まってしまう。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 16 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 16: "Gennai’s Departure & Forever Immortalized"「さらば源内、見立は蓬莱（ほうらい）」
(originally aired on NHK Apr. 20 (Sun)

Episode 16 opens with Matsudaira Takechika lying on his death bed. Tanuma Okitsugu’s secretary, Miura Shōji, pays a condolence call asking for the gloves in tears to have as a keepsake. That evening, he reports to Tanuma that he was not able to obtain the gloves, although they promised him to keep looking, someone probably absconded with them and they are long gone. Okitsugu’s son, Okitomo, wonders if maybe that same person didn’t poison Takechika. Okitsugu calls to a cessation of the investigation, hoping the culprit will then let up his guard revealing himself. Miura too worries that if they handle it poorly, the blame will come to rest on Okitsugu, or maybe even the shōgun himself. Okitomo recites the rumor, whoever touches the gloves will die, the gloves that bring forth death.

As Okitsugu walks down the corridor on his way to an audience with the shōgun, others are gossiping abut him behind the scenes. Matsudaira Terutaka (松平 輝高) asks Matsudaira Yasuyoshi (松平 康福) whether he’d heard of what happened the night before Takechika dies, and Yasuyoshi tells him that Okitsugu had met with Takechika that night. Elsewhere, Chiho-no-kata, before the memorial tablet to her son, demands of the nursemaid Ōsaki that surely it was Okitsugu who poisoned the gloves. Ōsaki concurs that the two did not get along, and Okitsugu did indeed have tea with Takechika the night before he died. The gloves are never recovered.

In audience with the shōgun, the shōgun demands of Okitsugu what became of the gloves. Chiho had told the shōgun that the gloves had been impounded (uke-dasareta, 請け出された) for the investigation. When Okitsugu insists that he doesn’t know, the shōgun believes he is lying. Okitsugu asserts that though he is not lying, he accepts the blame for failing to resolve the shōgun’s concerns and is resigned to the shōgun’s judgement (te-uchi, 手打ち) of him on that account.

Back at his own quarters, Okitsugu explains to Gennai that formally the incident has been put to rest with the decision of sudden death due to illness. Gennai is taken aback that poison wasn’t found on the gloves and asks Okitsugu to allow him to examine the gloves, for otherwise the blame will be place on Okitsugu. Okitsugu yells at him that the case is closed, adding that it is for Gennai’s own benefit as well. Okitsugu gives Gennai a bundle of gold coins, thanking him for all his work on his behalf. Gennai is furious at how Okitsugu just dismissed him, despite all the acumen he provided for Okitsugu’s endeavors over time. Okitsugu retorts that Gennai is unappreciative of how much Okitsugu had to cover him for his failures [the iron- mining, the static-electricity device, etc.]. Gennai throws the coins to the floor and stamps out, saying this won’t silence him.

Gennai returns to the row-house, where all his left-over static-electricity devices have been dumped outside, now that he’s been asked to leave the row-house. There the entrepreneur Hezutsu Tōsaku (平秩 東作) is waiting for him, apparently having been investigating on Gennai’s behalf. Tōsaku tells Gennai that the colorful gloves where probably made by the artisan Gorōzo (五郎蔵), and it was Okitsugu who had commissioned them as a rush order. Gennai seems now to be suspicious of Okitsugu. Just then a townsman with the assumed name of Kyūgorō (久五郎) comes to the entrance asking for Gennai.

〈After opening sequence〉


Tsutajū and Ritsu go to a theater, where before the curtains open, the theater proprietor announces the day’s productions with a humorous introduction about coming to a dark theater on a sunny day etc. The productions announced are “Shin usu yuki monogatari” (新薄雪物語り) and “Uta-makura koi hatsu tabi” (歌枕恋初旅) with the jōruri performers Tomimoto Umanosuke (冨本 午之助) as the narrator and Namizaki Tokuji (名見崎徳治, 1787−1841) as the shamisen player [both of whom we’ve seen before, see episode 11].

After the play, while eating soba noodles, Tsutajū asks Ritsu if there might be some way to make use of the theater opening announcement. But Ritsu isn’t listening as she looks around for someone. This someone turns about to be an older man, who she introduces to Tsutajū as a head-carpenter who is a friend of her husband and likes the theater, but as it turns out, he is also the jōruri playwright Utei Enba (烏亭 焉馬, 1743-1822) and is going to contribute to an upcoming play related to the Yoshiwara. Tsutajū asks him if maybe somehow, he could off-handedly mention his bookshop in the script.

Tsutajū then goes to pay a visit on Tomimoto Buzen (Umanosuke) and Namizaki Tokuji at their green room to check on their jōruri scripts for publication. Tokuji applauds Tsutajū’s clever idea of incorporated his bookshop name into a playbook. Tsutajū considers asking Gennai to write a book for him, but the two make faces at the suggestion. They explain to Tsutajū that Gennai, referred to as Kigai-sensei (鬼外先生) by them, is now living at the “House of Misfortune” (fukitsu-no-ie, 不吉の家), where Kengyō formerly lived – no, not Toriyama, but Kamiyama Kengyō. Rumor has it that Gennai’s been bewitched by a kitsune fox.

Worried about Gennai, Tsutajū goes to the haunted estate to see him, and notices an odd smell. Inside, Gennai is smoking a pipe while seated at a desk with a blank sheet of paper before him. When Tsutajū is lead in by a samurai, Gennai is glad to see him, and the samurai [Jōemon, 丈衛門] tells them to enjoy themselves as he walks from the room adding a second sword to his obi. Gennai explains that the samurai is a Hatamoto in charge of buildings, who has asked him to make floor-plans. Further adding, no doubt due to Tanuma’s auspices. When Tsutajū asks why he is now living here, Gennai bursts out laughing, because it is free. While Kyūgorō is mixing tobacco leaves for Gennai, he further explains that he was asked by the owner to find someone to stay in it so that it wouldn’t deteriorate without an occupant. Kyūgorō introduces himself to Tsutajū saying he’s a carpenter, but Gennai points out that he functions as his tobacco supplier. Tsutajū says he’s come to ask Gennai to write a book for him, since he wants to fill up his shop with new publications for the forthcoming New Year. Gennai is enthusiastic about the idea, as Tsutajū explains he would like a story that could be turned into a play. Tōsaku then arrives with information about the gloves, and Gennai becomes too distracted to listen to Tsutajū, but rather is obsessed with the gloves that bring death.

Later, Tsutajū visits with Kisanji (author) and Masanobu (illustrator). Kisanji applauds Tsutajū’s finished manuscript Date moyō mitate hōrai (伊達模様見立蓬莱) [likely, the fairytale of Segawa – it is a real book, btw], saying that it should also please the person who thought it up with him. Kisanji is eager to set off for the Yoshiwara, but Tsutajū hands him back another manuscript asking him to make some minor editing first. Masanobu turns around from his work, egging on Kisanji to hurry up and get it done so they can go to the Yoshiwara. Tsutajū then hands over his manuscript for Masanobu to illustrate, with a rough sketch of what he wants [the pre-curtain opening announcement of his bookshop].

At the “House of Misfortune,” the samurai Jōemon urges Gennai to drink, but Gennai refuses as he doesn’t imbibe alcohol, while riling Gennai by reminding him of his failures. Kyūgorō offers Gennai a pipe of “tobacco” to calm him down. Gennai takes it with a shaking hand [obviously addicted to whatever’s been mixed in with the tobacco], and comments on how strong it is this time as it makes him cough. Jōemon takes his leave, saying he’s looking forward to the finished floorplans, and Kyūgorō sees him out leaving Gennai alone.

Gennai starts hearing voices calling him a fraud and runs around crashing open doors looking for the speakers. Crazed, Gennai tramples his own floorplans, and tears down the hanging scroll in the alcove demanding that Yashichi give back his blueprints for the static-electricity device. When Kyūgorō walks back in, Gennai mistakes him for Yashichi and grabs his collar. The samurai, following in behind, then knocks Gennai out cold with the back of his sword. Kyūgorō assumes they are going to make it look like Gennai committed suicide, but the samurai murders Kyūgorō instead, mumbling that’s what he’d been ordered to do. When Gennai comes to, he is holding the bloody sword in his hand and sees Kyūgorō lying in a pool of blood.

Miura runs in with the news to Okitsugu that Gennai has cut someone down, and the estate where he was living is being investigated. Meanwhile, Tsutajū also having heard the news, runs to the estate asking for the manuscript he had commissioned from Gennai, but is handed only a single bloody page, which he later shows to Suwaraya. At the jail by candlelight, Gennai lays covered in a straw mat shivering [no doubt due to the delirium tremens from withdrawal]. Sometime later, Okitsugu goes to see Gennai there. Gennai crawls to the wooden bars as Okitsugu asks him whispering how he came to this. Gennai doesn’t rightly remember, only that building manager that Okitsugu had sent him. Okitsugu has no idea what Gennai is talking about, neither knowing anyone by the name of Jōemon, nor having sent someone to commission floorplans. Gennai says he can’t tell what was real or fantasy; he was hearing voices and was told he’d killed somebody. Okitsugu tells Gennai, it’s not his imagination now, he’s here for him, as Okitsugu holds Gennai’s hand to his face and Gennai breaks down in tears.

Back at his quarters, Okitsugu asks Miura if there is a retainer to the house of Matsumoto names Jōemon. Miura explains it was a false name by some fraud claiming to be building manager commissioned by Okitsugu. Okitsugu tells Miura that they have to make a report to the Bugyōsho office, but his son warns him that will only serve to embroil the Matsumoto house in the incident. Okitsugu says but it’s a matter of life or death for Gennai, and his son counters that next it could be Matsumoto’s life. Further interference will just start the furor all over again [about the now apocryphal poisoned gloves etc.].

Under the falling snow, someone puts a bowl of something hot to drink outside the wooden bars for Gennai.

Meanwhile at Tanuma’s, Tsutajū, Suwaraya, Tōsaku, and Sukita Genpaku (see eps. 15) have arrived for an audience with Okitsugu, concerned about what will become of Gennai. Tsutaju shows Okitsugu the only remaining page of Gennai’s manuscript, explaining that since the remainder was taken, it’s proof that someone else was present besides Gennai. Suwaraya adds that there’s a number of further odd inconsistencies: Gennai had sold of his sword and only carried a bamboo replacement; Gennai was said to have been found dead drunk, but Gennai doesn’t drink alcohol. Okitsugu promises to turn over the bloody page to the Bugyōsho, but doubts that I will be accepted as proof in defense of Gennai. Tsutajū demands to know if he really thinks Gennai did such a thing. Okitsugu says he can’t discount it out of hand because of late, Gennai hasn’t been the Gennai he knew. Just then, Okitsugu’s sons arrives with the news that Gennai has died while incarcerated.

Okitsugu gets up to leave the room, apologizing to all for how it turned out. Tsutajū stands up demanding of Okitsugu, did you wish for Gennai to die? Didn’t you get him involved in some nefarious activities?! Okitsugu turns back at the door, replying to Tsutajū that indeed there was a mountain of things between him and Gennai that would be bad to be revealed. Tsutatju yells at him that he’s a “heartless bastard” (bōhachi, 亡八)). In the corridor outside the room, Okitsugu hands the bloody page of Gennai’s manuscript to Miura, telling him to burn it. Gennai’s voice starts to narrate the manuscript, which was a story about the poisoned gloves and how some hero uncovered the scheme helped by his close friend. Okitsugu murmurs to himself, I told you Gennai that leaving it alone was in your best interest as well, as tears arise in his eyes.

At the Hitotsubashi estate, Harusada is enjoying eating fire-roasted satsuma potatoes, while watching Gennai’s stolen manuscript go up in flames.

Tsutajū pays his respects at Gennai’s grave lighting incense. Talking with Suwaraya there, Tsutajū still finds it hard to believe that Gennai is dead, especially since no one saw his corpse. Suwaraya explains that the corpses of criminals are not returned to their relatives [but just cremated by the government officials]. Tsutajū surmises that Gennai’s death was engineered by someone who had read his manuscript. He explains to Suwaraya, as is his wont, he will imagine the best, continuing to believe that Gennai lives on, and he intends to keep publishing Gennai’s books one after another so that his legend lives on.

Wandering back to the Yoshiwara lit up at night under the falling snow, Tsutajū recalls how it was Gennai who came up the “Kōshodō” (耕書堂) name of his bookstore, “because his publications (書) will be groundbreaking (yo wo tagayashi, 世を耕し), and make the world a more bounteous place.”

As the falling snowflakes turn to petals of the new year, Tsutajū new publications are announced at the play opening, and when the curtains are drawn, the titles of his new books are written on tanzaku paper-strips hung on the blossoming tree. For the new year of An’ei 9 (1780), his bookstore’s shelves are filled to the brim with his new publications.

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NHK Synopsis of upcoming eps. 17: 「乱れ咲き往来の桜」」　
https://nhkworldpremium.com/en/episode/364490

Historical Drama "UNBOUND"　Eps. 17
Sun, May. 4 20:00-20:45
Mon, May. 5 5:00-5:44 Sat, May. 13 13:05-13:50

Tsutaju publishes ten new works all at once, significantly raising the recognition of his bookstore Koshodo. Meanwhile, he reunites with Shinnosuke, who has run away with Utsusemi, and during their conversation, he takes notice of practice books called 'Oraimono', which is used for teaching children to read and write. On the other hand, Okitsugu enters the domain with Miura Shoji (Harada Taizo) to inspect the newly completed Sagara Castle. When he sees the flourishing castle town, he comes up with an idea.

蔦重（横浜流星）は青本など10冊もの新作を一挙に刊行し、耕書堂の認知度は急上昇する。そんな中、うつせみ（小野花梨）と足抜けした新之助（井之脇 海）と再会し、話の中で、子供が読み書きを覚えるための往来物と呼ばれる手習い本に目を付ける。一方、意次（渡辺 謙）は、相良城が落成し、視察のため三浦（原田泰造）と共にお国入りする。繁栄する城下町を見て、ある考えを思いつく。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
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2025 NHK Taiga Drama: Berabo (Unbound) Eps. 15 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 15: " The Glove that Brought Death" 「死を呼ぶ手袋」
(originally aired on NHK Apr. 13 (Sun)

Bullet points for Eps. 15:

＊ Tsutajū dreams of Segawa, but when he awakes, she’s not there.
＊ Gennai’s a bit off his rocker over the disparaging of his static-electricity device.
＊ Hōseidō Kisanji (author) & Kitao Masanobu (illustrator) agree to work together to make a joint book for Tsutajū to publish.
＊ Daikokuya Ritsu announces that she will quit being a madame of a bordello, and instead will establish an office to supervise the Yoshiwara geisha.
＊ Iemoto, son & heir to the shōgun, keels over while on a falconry expedition and soon dies. Rumors abound that it was Tanuma Okitsugu who poisoned him, and indeed it’s found that the poison was on the gloves that Okitsugu commissioned.
＊ Gennai seeks Okitsugu’s aid to mine gold in Ezo and increase international trade, and helps Okitsugu investigate the source of the poison.
＊ At a private tea ceremony, Takechika (mr eyebrows) reconciles with Okitsugu, realizing that Okitsugu is not guilty of the poisoning, but dies in his bed soon afterwards. Also, Takechika was the last person in possession of the poisoned gloves, before they disappeared again.


Auberginefleur Synopsis for Eps. 15:

Tsutajū dreams of Segawa making breakfast, but when he awakes, she’s not there. Afterwards he just sits stupefied in his shop smoking a pipe. The soba-guy and others look in with concern, commenting that Tsutajū went from heaven to hell overnight with the New Year.

[Note: no extant information remains, and likely never existed, on what became of Segawa.]

〈After opening sequence〉

Tsutajū wanders through the entertainment district, and there sees Gennai’s static-electric devices being uses as a spectacle, and more over they don’t even spark. There he sees Gennai gone mad, about to cut down a mother and child, because his is infuriated with the disparaging of his devices.

Tsutajū walks to Suwaraya’s, where Ichibei tells him that Gennai has been off-kilter of late, because of the counterfeit devices and being labeled a fraud (ika-sama, イカサマ). Just then the doctor of Chinese medicine, Sukita Genpaku (杉田玄白), walks in and adds that it can’t be discounted that the devices aren’t actually effective. Tsutajū wide-eyed in surprise asks, so it really doesn’t remove negative energy to cure all ills? Sugita explains that it was just Gennai’s jingo, overstating its effect. Sugita was once Gennai’s pupil, but know has surpassed Gennai in fame. He’s also the author of the Kaitai Shinsho (解體新書) medial treatise, that Gennai had illustrated for him (see eps. 4).

A clerk brings in Urokogataya’s books that Tsutajū had requested Ichibei buy for him. Ichibei wonders what Tsutajū is going to do with them, and he answers, hand them out to best customers or just give them to teachers of traditional arts (like shamisen). Ichibei tells Tsutajū that Urokogataya probably would be publishing anymore “ao-bon” from next year. As Tsutajū caries his bundle of Urokogataya’s books, he sees Urokogataya Magobei across the canal with a heavy burden on his back.

[Note: The Urokogataya eventually disappears, and his last known publication seems to be Wasō Hyōe Ichidai Monogatari (和荘兵衛一代物語) published in 1797 (Kansei 9) in 3 booklets. I might further add, that his Kinkin sensei eiga no yume (金々先生栄花夢) is widely considered the first publication of the new “kibyōshi” (黄表紙) genre of fiction (see eps. 8). Typically, his books after that are called “kibyōshi,” not “ao-bon,” however, I don’t know which label is contemporaneously correct.]

At the castle, Iemoto (son and heir to the shogun) is busily studying rice commodities and economics so that he need not rely on Tanuma Okitsugu in the future (when he becomes shōgun himself). In other chambers, Okitsugu confesses to Takaoka (head of the Ōoku) that he wishes that he and Iemoto could be on better turns. Takaoka has summoned Okitsugu there because she has a favor to ask of him. Tanehime (betrothed too Iemoto) wishes to give Iemoto a present, something unique. Okitsugu promises to commission falconry gloves made of the same fancy fabric as his pocket-paper cover, which was made by the artisan Gorōzo (五郎蔵).

Tsutajū is eating noodles at his new book shop, the Kōshodō, while talking to the author of humorous books, Hōseidō Kisanji. Kisanji suggests to Tsutajū that he start publishing his own “ao-bon” [sic] books, and explains to Tsutajū (worried about trespassing on Urokogataya’s niche) that Urokogataya has his hands full just with publishing works by Koikawa Harumachi. Tsutajū reminds him, that the Kōshodō publications won’t be sold in the town bookshops, but Kisanji says he doesn’t care since he writes for his own amusement. Kisanji tells Tsutajū that of the two, Tsutajū is more fun to work for. Tsutajū is pleased, until Kisanji continues, because Tsutajū pays him with visits to the Yoshiwara and now has become quite the playboy with many favorite courtesans.

The young Kitao Masanobu pops in asking Tsutajū for work, since Tsutajū pays him in visits to the Yoshiwara too, moreover his illustrations make him popular with the courtesans there. Tsutajū says he has no work to offer, since he’s already heavily in debt and doesn’t have the money to pay for their visits to the Yoshiwara. Jirobei, the ostensive manager of the Tsutaya chaya, offers to guide them to Yoshiwara, despite Tsutajū’s protests. The two promise to collaborate to produce a superb book for Tsutajū and set out with Jirobei. Tsutajū tries to stop them, but just then a customer arrives asking for Tomimoto jōruri scripts.

Outside the banquet room in the Surugaya, Fuji tells Tsutajū that they spent 10 ryō of gold, but the courtesans enjoyed it, even laughing from the heart. When Tsutajū enters the room, the bigwigs are discussing what they can do to improve the Yoshiwara, with Ichiemon taking notes. Since the Yoshiwara geisha are being prostituted despite it being forbidden, Ritsu of the Daikokuya announces that she will quit being a madame of a bordello, and instead wants to establish a “kenban” (見番) office to supervise the Yoshiwara geisha. Chōjiya (丁子屋) suggests they could utilize the ryō housing better, sequestering the jorō there until they fully recover (as opposed to locking the ill in a dark closet) to prevent the spread of infectious diseases. When Fuji explains to Tsutajū what’s going on, Tsutajū feels like he’s seeing his dream come true.

Back at the Kōshodō, Jirobei walks in asking Tsutajū what that about with the flyers outside, and Tsutajū explains that he’s trying to attract new writers to produce amusing books to fill up his bookstore that will appeal to customers that enjoy those books, and also books fun for even the jorō. Jirobei realizes that Tsutajū is going to start publishing his own “ao-bon” [sic], and sees that Tsutajū is back to his old lively self.

At the castle, Iemoto is trying on his new gloves before Takechika, who is relieved to hear that Iemoto is studying economics because he wants to be a more independent ruler, like the former shōgun Yoshimune himself, and not rely on Tanuma Okitsugu. Likewise, he’s taken up falconry to model himself after Yoshimune. On the falconry hunt, when Iemoto fails to release his falcon so it can successfully catch its prey, he gnaws on his gloved thumb in frustration, then claps his chest and keels over.

Back at the castle, Tanuma Okitsugu reports to the shōgun, that the doctor declared Iemoto’s death due to sudden heart failure. Chiho-no-gata, wife of the shōgun, accuses Okitsugu of poisoning Iemoto, because there is no reason why her young healthy son should suddenly keel over due to heart failure. In her fury, she bites her thumbnail clean off and has to be dragged out.

In a private meeting of three, the mid-level ministers (rōchū, 老中) Matsudaira Yasuyoshi and Matsudaira Terutaka discuss Okitsugu’s report that Iemoto died at the Tōkaiji temple. They consider that rumor that Okitsugu made donations to that temple to silence the head priest there, while Takechika looks on in thought. The rumors of Okitsugu poisoning Iemoto spread throughout the castle, which Okitugu overhears as he walks along the wide corridor.

Back at Gennai’s, he paces around the dark room full of his unsold static-electricity devices. Holding a small pedometer-like device in his hand, Gennai reminisces on when he had his first audience with Okitsugu. Okitsugu was intrigued with the device, running around to see if it really worked, before asking Gennai if he invented it himself. Gennai explains that he modelled it after a device imported from Holland. Gennai suggests that they start producing such devices domestically, and along with home-grown effective medicines, start selling them for a high price, and that way re-acquire the gold and silver from abroad. Okitsugu takes in hand Gennai’s book presented on a tray, Encyclopedia of Domestic Products (Butsurui-hinshitsu物類品隲), and asks for Gennai’s name. Gennai returns to himself, gazing at the same book, wondering what he’s been doing with himself since then. Just then the entrepreneur Hezutsu Tōsaku (平秩 東作) shows up, apparently having been in hiding due to debt, saying he has some interesting information and presents Gennai with a pouch.

Back before the shōgun, Takechika says Iemoto’s death should be investigated, and the shōgun concurs because for his healthy son to suddenly die of heart failure is unnatural. Takechika cautions that the blame might be placed on the shōgun for allowing it to happen, but the shōgun wants to know the truth regardless of the consequences. The shōgun permits Okitsugu to participate in the investigation because he isn’t suspicious of him, much to Okitsugu’s surprise and relief.

The investigation then begins. While other investigators interview witnesses, confirming that Iemoto felt poorly immediately after his falcon failed in catching the prey, Okitsugu starts his own investigation. No trace of poison can be found, and in any case, Iemoto was very cautious about poisoning, having tasters test even his tea served as a refreshment on the falconry hunt.

While Okitsugu was having this discussion with his son, Okitomo, and his chief-of-staff, Miura, Gennai arrives with a proposal. Gennai shows him the pouch of gold pellets, from somewhere in Ezo, and suggests they find the mountain the gold came from and take it over to help replenish the government coffers. Okitsugu is less interested, at the moment, in trade and commerce, than finding the cause of Iemoto’s death. He promises to help Gennai with his gold mine, if Gennai will lend his smarts in figuring out how Iemoto was poisoned. Gennai then heads out to the field where the falconry hunt took place, looking for poisonous plants or insects.

While Takechika is reading the reports on the investigation, repeating the order of events aloud to himself, it suddenly dawns on him that Iemoto had the bad habit of biting his nails when frustrated. Meanwhile, back in the field, the locals tell Gennai that they’ve never heard of poisonous insects there. One chubby local then walks up, with an accent so thick that Gennai can barely understand him, and recalls that when Iemoto lost his prey he bit his gloved thumb in frustration. Gennai then reports his findings to Okitsugu, and after he leaves, Okitsugu asks Miura to summon Hasegawa to find the gloves.

Meanwhile at the Kōshodō, Tsutajū is a bit overwhelmed advising the new authors that applied to his advertisement. Kisanji arrives asking how it’s going with them, when Tsutajū asks him to take a look at his “Segawa Story.” Tsutajū wants Kisanji to rewrite it for him to improve it, but Kisanji tells him that the person he planned it with would be happier if Tsutajū wrote it himself.


Back at Tanuma’s, Hasegawa reports that the gloves were first returned to Chiho-no-kata, and then turned over to Takechika for investigation. Okitsugu realizes that Takechika has also figured out that the poison must have been on the gloves. Okitsugu is worried he will be blamed since he was the one who commissioned the gloves at the behest of Takaoka (head of the Ōoku). Okitsugu’s son, Okitomo, thinks it’s a scheme hatched to discredit Okitsugu. Hasegawa promises to get to the root of who really applied the poison. Just then a messenger arrives summoning Okitsugu to meet with Takechika.

At a private tea ceremony, taking place in late summer due to the sounds of the cicadas, Okitsugu finds Takechika to be in poor health from a summer cold that lingers on. Before partaking of tea, Takechika tells Okitsugu of his findings, showing Okitsugu the damaged thumb of the gloves. Although Takechika has learned the whole story of how Okitsugu came to commission the gloves, much to Okitsugu’s surprise, he still doesn’t suspect him. When asked why not, Okitsugu explains that had Okitsugu actually done it, he would have made sure that the blame couldn’t be placed on himself. Takechika further adds, that while he dislikes Okitsugu’s obsession with the power of money —for money can’t be eaten in lieu of rice, nor can it be used as a sword to defend yourself— seeing how Okitsugu handled the investigation the Tōdō-za usurers, he realizes that Okitsugu is a loyal retainer. Thus, the two reconcile and agree to work together to find the true culprit of the poisoning.





Under the half-moon, Okitsugu wonders who’s going after the heir to the shōgun. He tells Hasegawa that they will close down the investigation for now, so that the culprit will let up his gaud. He also explains to Hasegawa that Takechika is now in possession of the gloves, and will turn them over to the shōgun along with his report exonerating Okitsugu. Miura comments that now they will have to be grateful for Takechika’s. Okitsugu finds that he has caught Takechika’s cold, which worries him about Takechika’s condition.

Indeed, Takechika’s condition worsens during the night, and while he is sleeping, some woman sneaks in and steals the gloves. Three scratches on his collar bone can be seen as Takechika lays dead.

It seems that Hitotsubashi Harusada is pulling the strings … [For hints of the conspiracy see Eps. 2 and Eps. 4.]

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NHK Synopsis of upcoming eps. 16: 「さらば源内、見立は蓬莱（ほうらい）」　
https://nhkworldpremium.com/en/episode/355498

Historical Drama "UNBOUND"　Eps. 16
Sun, Apr. 20 20:00-20:45
Mon, Apr. 21 5:00-5:44 Sat, Apr. 26 13:05-13:50

The incident of Iemoto's sudden death concludes without solid evidence. Okitsugu tells Gennai to refrain from prying further, which enrages Gennai. Meanwhile, Tsutaju visits Gennai’s residence, known as the "House of Misfortune," to request the writing of a new work for the New Year, but he is concerned by Gennai’s occasional strange behavior. Shortly after, news reaches Tsutaju and also Okitsugu that "Gennnai has killed someone."

家基（奥智哉）の急逝した事件は確固たる証拠を得ぬまま幕引きとなる。意次（渡辺謙）は源内（安田顕）に、これ以上詮索を控えることを告げると、源内は激怒する。一方、蔦重（横浜流星）は源内の住む�猊垉箸硫鉢瓩噺討个譴覯杏澆鯔�ね、正月に出す戯作の新作を依頼するも、時折、奇妙な言動を繰り返す様子が気になっていた。そんな矢先、蔦重や意次のもとに、�犖仔發�人を斬った�瓩箸いγ里蕕擦�入る…。


＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
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2025 NHK Taiga Drama: Berabo (Unbound) Eps. 14 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 14: "The Final Procession of the Tsutajū-Segawa Couple" 「蔦重瀬川夫婦道中」
(originally aired on NHK Apr. 6 (Sun)

⁂ Images to be added later; I just don’t have time for it at the moment. …

Eps. 14 begins with a recap of the previous episode: Tanuma Okitsugu is before the Shogun, having brought it the Mori father and son, emphasizing that while the disadvantaged such as the blind should be protected, this no longer extends to the Kengyō usurers, who are disadvantaged no more. Meanwhile at Toriyama Kengyō’s, O’Sei (Segawa) is telling Toriyama that in this world there is neither a square egg nor a sincere jorō, so if he doesn’t believe her, go ahead and take out her heart. [In addition, Tsutajū had been summoned to Toriyama’s, but when he arrives, the government raid is already in process.]

Now it is the autumn of An’ei 7 (1778), and the government forces have made a never-heretofore-seen great raid on not only the Zatō, but the entirety of all the guilds of the blind, the Tōdō-za (当道座). Tsutajū questions why O’Sei is being taken along with Toriyama, since she’s just his wife, and ends up being apprehended himself. Tsutajū is placed in the holding cell with others while they are being taken out one-by-one to be interrogated. Tsutajū talks to the jailor, bribing him with a visit to the Yoshiwara, and the jailor explains that O’Sei is under suspicion because of the rumor that Toriyama sent her to the Yoshiwara with gifts to entice them into borrowing money. [No doubt, because of the bolts of fabric and accessories that Toriyama had allowed her to give to the jorō at the Matsubaya bordello]. Tsutajū is released shortly, but claims as he’s leaving that it was all his fault, not O’sei’s, that she was only acting upon his request, so he’s the one who should be arrested in lieu of her.

Back at the Surugaya, Ichiemon drags Tsutajū to the head of the stairs yelling at him that it’s his fault that the Yoshiwara itself is now under suspicion. Tsutajū replies that it is true that O’Sei’s actions [like getting Toriyama to promote Horseface to his new name] were at his request. Nevertheless, Ichiemon throws him to the wall for his thoughtless declaration at the jail. Ōgiya Uemon further explains that while Tsutajū was incarcerated, the Yoshiwara was investigated, for its not just the Zatō but the entire Tōdō-za being investigation, and they too were customers at the Yoshiwara. So, while the Yoshiwara is under suspicion, Tsutajū should keep a low profile. On his way out, Fuji (the madame of the Surugaya) who is like a mother to him, brings him towel to wipe his split lip. Tsutajū then goes off to the fox shrine praying for Segawa and the Yoshiwara.

Back at his Tsutaya chaya-cum-bookshop, Tsutajū is relieved to hear that Segawa was released without punishment, and has been handed over into the custody of the Matsubaya for the nonce. Just then a customer appears, but is dragged off by a woman holding a wrapped shamisen, who chides him for going to the Yoshiwara while he explains that he had just come to buy a book. Of late, there’s increasing confusion over whether the Tsutaya is a chaya, serving as an intermediary for visiting a bordello, or a bookshop. Daimonjiya suggests that maybe it’s time for Tsutajū to open his own bookshop, and since the Iedaya (家田屋) two doors down has closed, he could take that over.

〈After Opening Sequence〉

At a poetry gathering at the Surugaya, the bigwigs are having a conversation in the diction of poems. Still in poetry mode, they ask Tsutajū about his intention to take over the Iedaya and how he will afford it. Also in poetry mode, Tsutajū explains about the confusion over what kind of shop the Tsutaya is, and that his books are selling well so he should be able to afford it. The bigwigs approve, and after thanking them, Tsutajū asks Ichiemon if he’d be his guarantor. Ichiemon says he’ll think about it. After Tsutajū leaves, Daimonjiya bursts in, angrily throwing an official document to the floor.

Since Segawa has been placed in the Matsubaya’s custody, she has been staying at their ryō (寮), an off-site housing for sick and recovering oiran of some prestige. There Segawa is reading a book while remembering Toriyama threatening murder depending on Tsutajū’s response, when Tsutajū’s visit is announced. Tsutajū has come to give his old lending books to the sick and recovering oiran there, since he is about to replenish his stock. He gives a couple especially for her, one of which is apparently a story about her.

Tsutajū tells her that he’s going to open a new bookshop at the beginning of the new year, and asks if she wouldn’t work with him there. She says that’s impossible because she’ still a married woman, and has no idea what might happen to her; she might even be sold-off elsewhere. Tsutajū suggests, that as they did as children, they imagine the best, and the two of them play at working together at Tsutajū’s new bookshop thinking up ideas for new publications.

Just then a young jorō (fille de joie) is carried in, while Tsutajū and Segawa hurriedly arrange the bedding. The jorō has taken a turn for the worse after a miscarriage. Segawa suggests acupuncture, which she learned at Toriyama’s that it’s used for the after-effects of a miscarriage. Tsutajū asks Ine (madame of the Matsubaya) why she doesn’t use Gennai’s static-electricity device, and she retorts, because it doesn’t work.

Tsutajū then goes to Shinnosuke’s row-house to visit Gennai. There he learns that Gennai’s assistant, Yashichi, has made off with Gennai’s blueprint for the static-electricity device, and is now making his own cheap versions. Gennai is bringing a lawsuit, because the Yashichi’s devices don’t work, and are ruining Gennai’s business. Tsutajū wonders aloud, if they don’t work just because Yashichi’s are poorly produced, which incenses Gennai.

Back at the Matsubaya’s ryō, Tsutajū ascertains that the static-electricity device that Ine had confiscated from Gennai doesn’t work either. Tsutajū and Segawa continue joking around while fictionalizing Segawa’s story by turning the protagonists into legendary characters, or even animal manifestations. Afterwards, when Segawa tries to help the jorō, Matsusaki (松崎), with her meal, Segawa notices that she had been reading the book about her that Tsutajū had given her earlier. Just then, Matsusaki rises to knife Segawa.

At the management desk (chōba, 帳場) on the first floor of the Surugaya, Ichiemon and Fuji agree to be Tsutajū’s guarantor, but Ichiemon adds the caveat that he will withdraw his guarantee the moment that Tsutajū involves Segawa in his business. This is because many have a deep-seated hatred of the blind-guild of usurers, and Toriyama Kengyō in particular. Tsutajū wonders if this enmity will really extend to Segawa.

Under the full moon, Ine is punishing Matsusaki by dumping buckets of cold water on her. Segawa tries to stop Ine, since she wasn’t hurt badly, but Matsusaki (a proud Hatamoto’s daughter) is incensed at Segawa’s pity. Matsusaki blames Segawa’s husband, Toriyama for the debt that forced her family to sell her to the Yoshiwara. Segawa explains that she could just as easily blame the samurai (buke, 武家), since she herself was sold off because her family failed to make the rice quotient demanded of them. Once they think like that, there’ll be no end to the circle of enmity.

Tsutajū rushes to see Segawa at the ryō, having heard of her injury, but luckily she only has a slight slash on her face and an arm injury. Tsutajū is incensed that Ine placed someone who suffered from the usurers in the same place as Segawa. Even though Matsusaki hadn’t borrowed from directly from Toriyama, Segawa now realizes how much she is resented in general. Tsutajū walks back through the entrance gate of the Yoshiwara, observing the official guard station (menbansho, 面番所) just inside the entrance, where the officers are handling a mishap in the Yoshiwara. Just then, Jirobei runs up to Tsutajū, saying he must come to an important discussion.

All the lesser and major bigwigs had gathered across the street at the Yoshiwara’s own monitoring station (Shirobei Kaisho, 四郎兵衛会所). There, Daimonjiya explains that he had made a down-payment to buy an estate in town, earlier offered for sale to him, when the town-ward headman (chōna’nushi, 町名主) told him that his purchase wouldn’t be permitted as a bordello owner from the Yoshiwara. Since he had not had a problem when he bought the ryō in Kayamachi at Asakusabashi, Daimonjiya brought a lawsuit to the Bugyōsho court (奉行所) on the issue, and the court ruling was that Yoshiwara people were not to be permitted to own land within the city proper, because the Yoshiwara people are outcastes, “outside the four classes” (shimin no soto, 四民の外). Furthermore, the judge said he will submit and edict (shōmon, 証文) to that effect, making it permanently binding. Daimonjiya effusively apologized to all for bringing the lawsuit that resulted in them now being officially outlawed from the city limits. The rest insist amongst themselves that henceforth they will stop paying the business tax (unjō, 運上), since they are now non-citizens. Tsutajū, for his part, mulls over why the Yoshiwara is held in such low regard.

Segawa receives a notice that she is to appear before the Bugyōsho. There, the Bugyōsho pronounces the verdict, that Segawa is not to be penalized because she was sold as a child and had no one to rely on but Toriyama. Furthermore, her relationship with Toriyama has been officially severed. Segawa asks permission to address Toriyama, and granted, apologizes for constantly hurting his feelings and tells him that she was a fortunate wife. He replies that, he had decided to fulfill all her wishes.

[It’s really interested how the social status is revealed by the seating. Segawa and Matsubaya kneel in courtyard, but Matsubaya is allowed a straw mat, and Toriyama Kengyō is seated at the outer edge of the open room.]

When Segawa comes to the Tsutaya to show Tsutajū her divorce papers, he ups and hugs her, and even the soba guy across the street comes out to see. While Toriyama is now incarcerated, Tsutajū and Segawa lay in bed together planning the fairytale legend of her story. Segawa doesn’t want to make Toriyama a villain in the story because he took such tender care of her, and Tsutajū assures her that he too will take loving care of her.

Tsutajū asks Surugaya Ichiemon and Fuji for permission to marry Segawa. Tsutajū says it will be much safer for Segawa to live inside the Yoshiwara, where people can’t get to her because there’s the guard station at the entrance. Also, to turn Segawa out of the Yoshiwara would just confirm their “heartless-bastards” (bōhachi, 亡八) impression. In order for the Yoshiwara to be perceived differently they must show that they take care of their own; that they don’t feed on unfortunate women but rather give them safe haven. Fuji agrees to the marriage and adds water to the ink so that Ichiemon can sign it.

In audience with the Shōgun, with Iemoto and Takechika also present, Tanuma Okitsugu reads out the settlement on the Tōdō-za usury case. Iemoto and Takechika object to the confiscated funds going into the shōgun’s coffers, because it will look bad, like the shōgun just confiscated it for himself. Okitsugu explains that it is perfectly appropriate because the Tōdō-za were ostensively supported by the government. Iemoto bites his nails having lost another argument to Okitsugu.

Tsutajū has now purchased the shop two doers down and opened his Kōshodō bookshop. He has to stay up late because he is so busy organizing, and while looking through his books, finds his half of the torn “ticket of passage.” In another room, Segawa is busily bundling books into a furoshiki cloth wrapper, when she too takes out her half of the “ticket of passage.” As the bell tolls the midnight closing hour, Segawa dwells on her depiction in Tsutajū’s Seirō bijin awase sugata-kagami publication), recalling their dream of making the Yoshiwara a better place, then closing the book.

In the morning, Tsutajū finds that Segawa has left. Hatsu tells him that Segawa said she was going to help at an acquaintance’s shop, and hands Tsutajū the letter Segawa had left for him. The letter is narrated in Segawa’s voice, as Tsutajū desperately searches for her. Segawa explains that her staying would hinder their dream for the Yoshiwara from coming true, and also hamper the business of his new bookshop. Tsutajū drags himself home as the narration continues, and spies Segawa’s books through a crack in the door. Throwing it open, she’s not there. Tsutajū holds the “aka-bon” that he had given her when they were children, as the narrations finishes, she left the books he’d given her behind because they would only serve as a constant reminder. Tsutajū was her first love, and he always watched after her, “arigata-yama no tonbi garasu, O-saraba’e.” Segawa walks off in the crowd of people visiting a shrine for New Year’s.

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NHK Synopsis of upcoming eps. 15:「死を呼ぶ手袋」
https://nhkworldpremium.com/en/episode/355497

Historical Drama "UNBOUND"　Eps. 15
Sun, Apr. 13 20:00-20:45
Mon, Apr. 14 5:00-5:44 Sat, Apr. 19 13:05-13:50

Tsutaju establishes his own shop, 'Koshodo,' in Yoshiwara. During this period, he encounters Gennai, who is behaving oddly due to frustrations over the negative reputation of the Elekiter. Meanwhile, Tokugawa Ieharu's son, Iemoto, unexpectedly collapses during a falconry outing. Okitsugu then entrusts Gennai and Tosaku with a special mission, who came with a diplomatic proposal regarding Ezo.

蔦重（横浜流星）は吉原で独立して、自分の店『耕書堂』を構えた。そんな時、市中で様子のおかしい平賀源内（安田 顕）に会う。須原屋（里見浩太朗）や杉田玄白（山中 聡）によると、源内はエレキテルへの悪評に苛立（いらだ）っているという。一方、徳川家治（眞島秀和）の嫡男・家基（奥 智哉）が、鷹（たか）狩りの最中に突然倒れてしまう…。意次（渡辺 謙）は、蝦夷（えぞ）の話を持ち掛けてきた源内や東作（木村 了）に、ある任務を託す。

＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
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2025 NHK Taiga Drama: Berabo (Unbound) Eps. 13 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 13: "The Great Edo Rocked by Zatō Money" 「お江戸揺るがす座頭金」
(originally aired on NHK Apr. 5 (Sun)

At the Tsutaya, Tsutajū suggested to Hirasawa Tsunemasa that they make a book about Yoshiwara as if it were a realm onto itself, with each block as a domain within the country and each bordello as a county (gun, 群), such as the Matsuba-gun having a beautiful river called Segawa. Kisanji further added that they should make it an origin story like the Chronicles of Japan (Nihon Shoki, 日本書紀).

Now in the fall of 1777 (An’ei 6), this book is published with the title Shōhi Chiriki (娼妃地理記) under Hirasawa’s penname, Dōdarō Maa (道蛇楼麻阿), used for his publications with Tsutajū (＊click images below to enlarge). Hirasawa abruptly asks what happened to the two (Shinnosuke & Utsusemi) who fled the Yoshiwara.

Ine (madame of the Matsubaya bordello) demands of Gennai whether he knows where the two are. When he claims he doesn’t know, she makes off with one of his static-electricity devices, to hold as collateral until Utsusemi is apprehended. Back at the Tsutaya, Jirobei explains that the two can’t be found, and that the Matsubaya is trying to pass it off as them having been “spirited off” (kami-gakushi, 神隠し). Then Tomeshirō arrives with the news that Urokogataya has been arrested again for the same pirated publication under the same fake publisher’s name.

At the Surugaya, the bigwigs are dancing around re-enacting the festival, while looking at Tsutajū’s book of the festival, Meigetsu yojō (明月余情). Tsutajū asks why they are now willing to except his version of the Yoshiwara Saiken guidebook (when before the other faction refused). Wakagiya explains because the customers don’t have anything against it, besides many even ask for the “thin Saiken” (Tsutajū’s version). As he leaves, Tsutajū seems to be wondering if that’s really why. The punishment for Urokogataya’s pirated publication has been laid down. Urokogataya had to turn over the woodblocks and the printed copies, but in addition, was given a fine of 20 kan of silver in penalty and his sales-assistant clerk (tedai, 手代) Tokubei was banished from Edo and its near environs.

Tsutajū goes to check on Urokogataya at his bookshop in Ōdenmachō, which has remained closed through into the new year, so Tsutajū has to go around to the back door. Inside, Nishimuraya is apologizing to Urokogataya for only being able to take on a limited number of copies of his new book [Kotoba tatakai atarashii no ne]. Still, Urokogataya is duly appreciative of what he could do. The obnoxious Tsuruya adds that since it’s a good book, it should sell steadily.

Then they hear Urokogataya’s son, Manjirō (万次郎), yelling “Go away! You god of pestilence! Just die!” The chief clerk, Fujihachi (藤八), comes to collect Manjirō and carry him off to a back room. Tsutajū requests to buy 500 copies of Urokogataya’s Saiken, but that only serves to infuriate him. He says if Tsutajū really wants to help, he should close his shop, and let Urokogataya have back the business he stole from him. Tsutajū has his fancy chaya besides, but Urokogataya only has his book publishing business. Afterall, the job of the Yoshiwara is just to sell women. At which, Tsutajū can only sadly bow.

〈after opening sequence〉

Tsutajū goes to Suwaraya, laying down some gold coins asking him to buy 500 copies of Urokogataya’s Saiken in his stead so not to rub Urokogataya the wrong way (＊see image above). Suwaraya worries that Tsutajū still has the loan to pay back to the bigwigs (for his fancy Seirō bijin awase sugata-kagami publication), but Tsutajū assures him it’s only an in-house loan that he will eventually be able to pay back. Suwaraya says he’s lucky to have the support of the bigwigs behind him. Tsutajū wonders why Urokogataya once again produced a pirated edition of the same dictionary he did before. Suwaraya explains that Urokogataya was in debt with several on-credit bills, and when one of places went out of business, Urokogataya’s bill got into the hands of the Zatō money-lenders. When the Zatō blind money-lenders came demanding payment on the loan, his sales assistant, Tokubei, produced the pirated edition unbeknownst to Urokogataya himself to get the money to pay the blind money-lenders back. Suwaraya comments that the blind are the unfortunates no longer, but probably the most powerful people at present. Since now the government has forbidden the rice-exchange merchants from lending money, everyone has to turn to the Zatō for loans, even the Hatamoto and Daimyō.

At Toriyama’s estate, (Toriyama Kengyō himself being the head of the most powerful Zatō guild), bolts of fabric for kimono and other accessories are laid out for O’Sei (Segawa) to select whatever she wishes for herself. O’Sei asks if she can have them given to the Matsubaya instead, since the filles-de-joie (jorō, 女郎) often go into further debt to the bordello trying to keep up their appearance. Toriyama says, rather testily, it’s not like he can see her appearance anyway. O’Sei realizes she’s irked him, and apologies that she didn’t mean it like that. Toriyama agrees to her request to make her happy.

At the Matsubaya, the jorō are selecting from the fabrics provided by O’Sei (Segawa), and Matsu-no-i explains they’re for the cherry-blossom viewing season. Just as Tsutajū is leaving, a man shows up with a young girl purchased from a Hatamoto samurai house.

Meanwhile at the castle, Matsudaira Takechika (mr. eyebrows) demands of Tanuma Okitsugu, whose title is Tonomo (主殿), about the case of the Hatamoto selling off his daughter due to debt. Now that the rice-exchange merchants (fudasashi, 札差) are forbidden from lending money, that should have relieved the lifestyle means of the buke (武家) class. Okitsugu explains, that as he told him before, they will just borrow money from elsewhere, unless usurious money-lending is forbidden across the board. Takechika blames Okitsugu for failing to raise the price of rice. In exasperation, Okitsugu tells him, again, that the price of rice can’t be forced up; it’s uncontrollable. Takechika snottily says, that’s your job, if you can’t do that, then you upstart are not deserving and just soiling your position.

At Okitsugu’s quarters, his secretariate, Miura Shōji, repeats in wonder Okitsugu’s recount of what occurred between him and Takechika. Just then Okitsugu’s nephew, Okimune, suddenly appears saying he’s been relieved of his position at Nishi-no-maru (where the shōgun’s immediate relatives reside), due to an incident about some missing item. Even though the item wasn’t actually stolen, as it turns out, Okimune was told that his supervision was slack, but it’s really because the shogun’s son despises the Tanuma family.

For the sake of his nephew, Okitsugu pays a call on Hitotsubashi Harusada, asking if he’d accept his nephew as a “house elder” (karō, 家老), the same position in which Okitsugu’s younger brother had served. Harusada readily agrees since the Tanuma family has always worked hard for his house, including improving their finances. Nevertheless, Harusada is worried about what may become of the Tanuma house. To that end, Okitsugu replies that he wants to try a big gamble.

Okitsugu goes to Matsumoto Hidemochi to request permission to investigate the money-lending of the Zatō guild for illegal activities. Just then Hasegawa Heizō Nobutame arrives requesting to be relieved of his position at Nishi-no-maru. While the “Supervision of Proper Etiquette and Gift Exchange” (Shinmotsuban, 進物版) is a very good position for providing many lucrative opportunities, Hasegawa can’t stand the backbiting and vicious gossip. Furthermore, he’s ridiculed because of his father, with the implication that he got his position undeservedly.

[I had not known that his father, Hasegawa Nobuo, had also served as the head of the Arson and Robber Bureau of Investigation (Hitsuke Tōzoku Aratame-kata, 火付盗賊改方).]

Okitsugu offers to consider giving him a new position if Hasegawa can prove his worth by investigating the Nishi-no-maru to see how many there are in debt to the Zatō guild. Hasegawa gladly takes up the offer, saying he has two close friends he can rely on to help him [Isohachi (磯八) and Senta (仙太)]. Shortly thereafter, outside on the street, Hasegawa’s two buddies in incognito pass by Mori-dono (森殿) being threatened by some bullies of the Zatō guild.

The bigwigs pleased with Tsutajū’s publication, Tsutajū goes to visit the print artist, Shigemasa. There, the young Kitao Masanobu (soon to become Santō Kyōden) shows his print sketches to Tsutajū, while Shigemasa explains that Masanobu is a fast one, with both sketches and women. Masanobu begs Tsutajū to take him to the Yoshiwara, trying to decide which woman he would prefer by looking at his extensive notes in a guidebook to the Yoshiwara. Tsutajū laughingly says, then surely anyone would do.

Shigemasa then takes out Urokogataya’s Kotoba tatakai atarashii no ne (辞闘戦新根), written by Kisanji and illustrated by Koikawa Harumachi (恋川 春町), asking Tsutajū if he’s read it yet. In this book, puns (jiguchi, 地口) and witticisms (share, 洒落) are depicted as monsters (＊see image below). [In eps. 11, Kurahashi Itaru (Koikawa Harumachi is his penname) was showing Urokogataya’s son his sketches for this book.] Since any books with Urokogataya’s name in them are currently being shunned, Shigemasa suggests that Tsutajū buys the books and republishes it himself. Tsutajū counters, that’s up to the town publishers, who have no need to call on him.

Continuing along to Shinnosuke’s row-house (nagaya, 長屋) in Yushima, Tsutajū runs into Daimonjiya in Kanda while crossing a small wooden bridge. Daimonjiya tells Tsutajū that he’s been given an offer to buy an estate in Kanda, which he is on his way to see, because someone got into debt and needs to sell it.

At Shinnosuke’s lodging, where Gennai resides, Tsutajū sees that more workers have been hired to make Gennai’s static-electricity devices. Gennai’s assistant Yashichi (弥七) has caught on fast, maybe too well, and is now busily teaching others how to make the devices. Tsutajū is too depressed to joke around with Gennai, because of the debt problems throughout Edo. People with debts are being taken advantage of, even he himself has gained advantage through Urokogataya’s debt. Gennai tells him that if he wants to make up for it, then he should lighten people’s burden through his books. Tsutajū remembers how when Asagao [the oiran who died of illness back at the beginning] made them happy when she read books to him and O’Sei/Segawa when they were children.

At his estate, Toriyama is still trying to do all he can to make O’Sei happy and surprises her with the gift of a room full of books. She’s so excited that she blurts out, “Now I’ll never be bored,” hurting Toriyama’s feelings. She quickly amends it to, “I mean when you’re not here.” Toriyama promises to spend more time with her, but the damage has been done. He remembers how lively she was when Tsutajū and Daimonjiya came to visit from the Yoshiwara, compelling him to ask her if she wants to return to the Yoshiwara. Of course, no woman would want that, she says, but Toriyama wonders why then she sounds so lively when talking to people from the Yoshiwara. She explains that they’re like family, and completely different from her feelings for him. Which he takes the wrong way, demanding, so he’ll only ever be a customer to her, and she never more than just an oiran. In his ire, he trips over a bookshelf on his way out. She tries to help him up, pleading to let her explain, but he stomps out telling his assistant to lock her in the room. [One wonders how she is going to go to the bathroom.]

Suspicious about the pull the Yoshiwara has on her, Toriyama has his assistant search through her belongings she’d brought with her from the Yoshiwara, and finds that besides personal effects like garments and toiletries, she’d only brought books, all related to Tsutajū.

At Tanuma Okitsugu’s quarters, Okitsugu is examining the report of the investigation into possible illegal activities of the Zatō guild’s money-lending. Not only has the guild confiscated a massive amount of important family heirlooms in lieu of debt repayment, in some cases they’ve also taken over the lineage by forcing the heir into taking religious vows and replacing him with someone of their choice. Okitsugu deems this is more than sufficient proof of illegal activities. Just as he asks about Hasegawa’s report on the Nishi-no-maru, Hasegawa makes a sudden appearance bringing shocking news that the Mori family has fled from their residence. Okitsugu sends Matsumoto and Hasegawa to go find them. As Okitsugu then examines Hasegawa’s report, his eyes open in shock at someone’s name.

Okitsugu pays a visit to the shōgun Ieharu, where Matsudaira Takechika and Iemoto are also present. Okitsugu is allowed to call in the Mori father and son, who make an odd appearance with shaved heads (having taken religious vows to resign from the world) but wearing the kamishimo (裃) formal uniform of the kataginu (肩衣) vest and hakama (袴) trousers.

As it turns out, the father had borrowed money from the Zatō for the necessary bestowments to get his son a better position, and had his son been promoted to that position, he could have soon have paid them back, but unfortunately his son failed to be promoted. Worst yet, when he read the fine print, the payment was due before he’d receive his rice emolument. In the end, they had to sell off all their belongings and put his staff on leave. The disappearing object from the “Supervision of Proper Etiquette and Gift Exchange” (Shinmotsuban, 進物版) was also his culpability [see incident above]. When that still wasn’t enough, he was forced to turn over the house patrimony (katoku, 家督) to the Zatō. The father then decided that all he could do was commit suicide as an act of contrition. His son, however, stopped him and they all took religious vows and fled.

Okitsugu then hands over the list of members in the Nishi-no-maru who are in a similar position of egregious debt to the Zatō. Takechika reprimands Okitsugu for soiling the Shōgun’s ears with such information, but Okitsugu replies that as ruler of the land, it is important for the Shōgun to know. Okitsugu requests to have the Zatō apprehended for questioning of their illegal usury. They argue about this since the first shōgun had deemed that the unfortunates such as the blind must be provided for, by Okitsugu counters that the Zatō guilds of the blind are hardly unfortunates any longer, rather the needy now need protection from them. The shōgun Ieharu agrees that those in debt need protection, and his son sulkily concedes.

At the Tsutaya, Tsutajū is reading a book when Toriyama’s assistant (in check grey & beige garment) suddenly appears, asking if the “ao-bon” book with the signature of “Karamaru” in the back is his. Tsutajū of course remembers this book that he gave to O’Sei/Segawa when they were children. The assistant asks Tsutajū to come with him, since Toriyama has a matter to discuss with him.

Back in the bookroom at Toriyama’s estate, O’sei/Segawa is looking at the torn “pass” she had received from Tsutajū when they fantasized about running away together, when Toriyama suddenly comes in bearing a short sword and telling her that Tsutajū is due to arrive shortly. O’Sei is worried by the short sword, and Toriyama retorts that depending upon Tsutajū’s response, he may well kill him. O’Sei says, ask anyone in the Yoshiwara, they’ll tell him that there’s never been any such illicit relationship between the two. Toriyama dumps all Tsutajū’s books in her possession on the floor, asserting that she has those feelings in her heart, that no matter how much one pays, one cannot buy a person’s heart, and she is a jorō right down to her marrow.

O’Sei responds, you’re right, Tsutajū was her light, who made being in the Yoshiwara bearable – the one good thing, that made that life seem not so terrible. Whether he kills Tsutajū or herself, the past can’t be changed. She realizes that Toriyama’s the one who cares for her the most, but because of his skill of reading into people, he is always being hurt. Why do people fail to read their own hearts? While she feels sorry for hurting him, in this world there is neither a square egg nor a sincere jorō, so if he doesn’t believe her, go ahead and remove her heart.

Outside of Toriyama’s, just as Tsutajū is about to enter, he sees that the government forces have arrived to apprehend Toriyama.


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Synopsis of upcoming eps. 14:

Historical Drama "UNBOUND" Eps. 14: "Tsutajū Segawa Fūfu Dōchū" (蔦重瀬川夫婦道中)
Sun, Mar. 30, 20:00-20:44
(Repeat) Mon, Mar. 31, 5:00-5:44; Sat, Apr. 5, 13:05-13:50

When the shogunate cracks down on the Todoza troupe, Kengyo (Hayato Ichihara) and Sei (Fuka Koshiba) are arrested, and Tsutaju (Yokohama) is taken away by the police. After being released, Tsutaju learns from Ooya (Atsushi Ito) that a vacant store will be available on Gojikendo, and wonders if he can become independent and have his own store. Meanwhile, he hears from Ine (Miki Mizuno) that Elekiteru is an ineffective item, so he visits Gennai (Ken Yasuda). Gennai claims that Yaichi (Jin Katagiri) is to blame for the poor sales of Elekitel...

幕府による当道座の取り締まりで、検校（市原隼人）と瀬以（小芝風花）は捕らえられ、蔦重（横浜流星）までも同心に連行されてしまう。その後釈放された蔦重は、大文字屋（伊藤淳史）から五十間道に空き店舗が出ると聞き、独立して自分の店を持てないかと考える。そんな中、いね（水野美紀）からエレキテルが効果のない代物だと聞き、源内（安田 顕）を訪ねる。源内はエレキテルが売れないのは、弥七（片桐 仁）のせいだと訴える…。

＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
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記事タイトル2025 NHK Taiga Drama: Berabo (Unbound) Eps. 12 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 12: "The Niwaka Festival and Tsutajū’s ‘Meigetsu Yojō’ " 「俄（にわか）なる『明月余情』」
(originally aired on NHK Mar. 23 (Sun)

Matsudaira Sadanobu (formerly Masamaru) is reading Urokogataya’s latest “ao-bon” book, Koikawa Harumachi's Kinkin sensei eiga no yume, written in a humorous Yoshiwara style (akin to pig-latin), where all the syllables starting with “k” need to be ignored, which piques his interest.

At the beginning of the new year, 1777 (An’ei 6), Horseface has successfully succeeded to the name of Tomimoto Buzen-dayū. His “jiki-den” (direct-transmission) booklets of his jōruri scripts are flying off the shelves with their popularity, drawing customers to Tsutajū’s Tsutaya. Nevertheless, Tsutajū had hoped he’d sell more, but they are also being sold in the theater district. So, there’s that. Tsutajū is still disgruntled that the town bookshops will not handle his publications, and Hanjirō (soba guy) tells him that he should just produce his own “ao-bon” like those penned by Harukawa Koimachi (春川恋町)〈sic〉or Hōseidō Kisanji (朋誠堂 喜三二).

Meanwhile at the Urokogataya, Magobei is talking to Nishimuraya when Wakagiya Yahachi from the Yoshiwara suddenly shows up with a request.

At the Surugaya, Tsutajū complains that’s too early to start planning for the Niwaka festival planned to take place in the Eighth month. Daimonjiya gets angry with Tsutajū, reminding him that the Fukagawa did not have adequate time the previous year to prepare the “mikoshi” (shrine palanquins) for the Sannō and Kanda festivals, besides they have to figure out where the money will come from.

Ritsu (madame of the Daikokuya) says it will be their loss if they don’t participate, but how will they get everyone on board with the project? Surugaya Ichibei reads out the circular (kaijō, 廻状) prepared by Wakagiya and Nishimura, which says that the Yoshiwara will hold the festival from the first day of the eight month for 30 days. Furthermore, to promote the festival, Nishimuraya will publish a print series in tandem, titled “Seirō niwaka kyōgen” (青楼俄狂言盡), and list all the establishments that have subscribed, at the cost of 2 ryō. Daimonjiya is quite upset that the Wakagiya-Nishimuraya faction beat them to it.

Returning to the Tsutaya, Tsutajū passes by a customer (Hirasawa Tsunemasa) being told all the major bordellos are full, but the Wakagiya is still available. Tsutajū has talked with this man before, but has yet to learn his name. The customer follows Tsutajū to his Tsutaya while complaining that recently he’s often encountered being dissuaded from certain bordellos while being recommended to different ones. This is because the bordellos have split into two factions, the Daimonjiya faction and the Wakagiya faction. Tsutajū wonders if with the split into two factions whether they can really successfully carry out the festival. Customer thinks it’s a great idea because the other festivals, like Sannō and Kanda, are all male. Besides having competing factions might work to their advantage, just as the Sannō and Kanda festivals compete against each other.

Daimonjiya shows up with Chōjiya Chōjūrō (丁子屋 長十郎) in tow, with 300 flyers denouncing Wakagiya’s circular asking for subscriptions of 2 ryō to participate in the festival. Daimonjiya is still incensed that the other faction beat them to it, but Tsutajū tells him that they will just have to outdo them. Chōjiya notices Hirasawa, calling him by name, explaining to Tsutajū that’s he’s a major playboy in the Yoshiwara. Hirasawa Tsunemasa is actually the officer-in-absentia (rusui-yaku, 留守居役) in Edo for the Akita domain. Hirasawa complains that the domain has become stricter about using funds for “pleasure-seeking,” and now has to pay out of his own pocket. The two wonder why he’s at Tsutajū’s place anyway, and he explains that it’s because Tsutajū makes interesting publications. Anyhow, Hirasawa offers to lend his support in preparing for the festival, which thrills Daimonjiya no end.

〈After opening sequence〉

Daimonjiya dumps a bundle of gold coins before Wakagiya to participate in the Niwaka festival, and the two get in a shouting much over who can do it better.

Then preparations start with Hirosawa lending his aid, deciding on the roles the kamuro (child apprentices) will play etcetera, while Tsutajū takes notes. Daimonjiya rushes in upset that Wakagiya got to Hatsuji first, at which Hirosawa recommends he get Mitsue [geisha names?].

Walking along with Hirosawa, Tsutajū remarks how well Hirasawa knows the Yoshiwara. Hirasawa, in turn, asks Tsutajū if he plans to publish something for the festival besides just the “banzuke” show bill. Tsutajū says is has a plan in mind, but will tell him about it when he has a better idea of it. The two are seen by Chūshichi, who reports it to Nishimuraya, making him concerned about what Tsutajū is up to.

Tsutajū visits Shinnosuke’s place to consult with Gennai, but he is off at some estate selling his static-electricity devices. Tsutajū goes to see him there, where Gennai is explaining that his devices rid the body of bad energy promoting healing from whatever ails you. Afterwards, as Gennai picks up, Tsutajū asks Gennai if he wouldn’t write some amusing tale about the rivalry behind the festival. Gennai says he’s too busy selling his static-electricity devices, but why doesn’t Tsutajū ask Kisanji instead. Tsutajū doesn’t know who that is, but Gennai tells him he’s met him before at the Matsubaya. [The guy who outed Gennai’s name in one of the earliest episodes.] Tsutajū realizes that Kisanji is the penname of Hirasawa, who indeed he’s met many times before.

Tsutajū returns to where Hirasawa is helping out with training for the festival, calling him by the name “Kisanji,” totally upsetting him. Hirasawa drags him to the fox shrine, explaining that if his superiors find out he’s writing fiction on the side, he’ll be in no end of trouble, because officials are not allowed to do sideline occupations. Tsutajū makes his request to have him write an “ao-bon” on the festival, but Hirasawa says he’s written so many in the last year, he’s fresh out of ideas. Tsutajū suggests writing about the behind-the-scenes of the rivalry of the festival as though it was the tale of the Genji and Taira military conflict. Hirasawa considers making it a humorous farce of the Taketori nursery story. Tsutajū promises to treat him at the Yoshiwara when he delivers the finished draft.

At the Urokogataya, Hirasawa is working with the print-artist, Koikawa Harumachi (恋川春町), on a draft of a different “ao-bon” for Magobei. There, Magobei begs him, prostrating to the ground with is family, with Hirasawa not publish any “ao-bon” with Tsutajū because its’s the only thing supporting his business and without it he’d go bankrupt.

As Hirasawa and Koikawa walk home, Koikawa explains that he thinks Tsutajū is like a “tonbi” (kite bird) taking things from others, first the Yoshiwara Saiken and then Buzen-dayū’s “jiki-den.” Hirasawa reminds him that it was Urokogataya that started it. Koikawa wants nothing to do with Tsutajū, but Hirasawa thinks Tsutajū’s ideas are far more interesting. Now caught between the two, Hirasawa gives up working with Tsutajū for the nonce, sad to lose his chance of being treated for free at the Yoshiwara.

At the Nishimuraya, the clerk Chūshichi (忠七) is busily selling copies of the print series “Seirō niwaka kyōgen” illustrated by Isoda Koryūsai (礒田 湖龍斎). Meanwhile at the Surugaya, Tsutajū learns from the madame Fuji that Hirosawa has written that he won’t be visiting the Yoshiwara for a while due to being busy with his official responsibilities.

Back at his Tsutaya shop, Tsutajū surmises Hirasawa’s conundrum as he looks at Urokogataya’s “ao-bon,” Hana no mine kōman otoko (鼻峯高慢男). Then Daimonjiya bursts in asking when Hirosawa is due to visit the Yoshiwara next. Next Buzen-dayū (the jōruri chanter) stops by after some absence, and Daimonjiya complains that he’s planned to have a “suzume -odori” (雀踊り) dance-parade, but Wakagiya has already taken the dancer Fujima Kannosuke (藤間 勘之助)〈sic〉[to choreograph?]. At which, Buzen-dayū suggests the dancer Nishikawa Senzō (西川 扇蔵), and also agrees to participate in the festival himself.

Afterwards, Tomeshirō asks Tsutajū whether he really isn’t going to publish something for the festival besides just the “banzuke” (番付) show bill. Tsutajū says that while Nishimuraya’s color prints series is already serving to promote the festival, so no more need to that end, Tsutajū would like to produce something that will leave a lasting impression of his Kōshodō on the visitors to the festival.

Nearing the opening of the festival everyone is busy with their own preparations. The two rival groups are busily preparing their floats and performances, Daimonjiya’s dancers in yellow & orange attire and Wakagiya’s in light & dark blue attire [akin to the team colors of the Hanshin Tigers and the Los Angeles Dodgers]. While upstairs a shinzō (adolescent apprentice oiran) is practicing walking on high clogs, and kamuro (child apprentices) are practicing their circle dance, Matsu-no-i asks Ine (the Matsubaya madame) why the oiran are not participating in the festival, and is told that’s because they are going to be viewing it with their best customers. Matsu consoles Utsusemi that Shinnosuke might pay a visit, but Utsusemi is worried he’s forgotten all about her. Meanwhile, Shinnosuke sadly peruses Nishimuraya’s print series of the upcoming festival at a bookshop, and is told that the oiran are not expected to participate.

On the opening day of the festival, Jirobei runs to the Tsutaya to collect his flowered-hat for the dance parade. For this special event, unlike previously, the female spectators are not required to attain a ticket of passage to enter and leave. Nearly everyone in the Yoshiwara is participating in the festival from the geisha, kamuro, and even many of the bigwigs -- except the oiran courtesans who are watching from the 2nd floor balconies with their customers. Tsutajū and Utsusemi spot Shinnosuke with the two print artists (Shigemasa and Shunshō) perusing the banzuke show bill.

Among other performances in the parade, two kamuro on a float are performing a scene from the “Soga Brothers” kabuki play, narrated by Buzen-dayū himself, who has his head wrapped in a tenugui hand-towel (like a kerchief) for Daimonjiya’s group. Whereas, Wakagiya’s float has his kamuro doing a circle-dance in blue kerchiefs. Then the two rival groups of parade dancers meet in the middle, having started at opposite ends of the Yoshiwara, and face each other off in a competition of dancing.

Back at the Tsutaya, Tomeshirō is worried that Shunshō is not feeling well, but actually he’s just annoyed that Isoda Koryūsai has taken over his specialty (actor prints) for illustrating Nishimuraya’s “Seirō niwaka kyōgen” print series of the festival activities. Tsutajū seizes the opportunity to ask him if he’d be willing to illustrate a book of the festival for him. Since the festival has already started, there wouldn’t be time to produce a book in color, but with a whole month to go before the festival ends, a black & white version could be printed in time. Hirosawa just then shows up, apologizing for not writing the “ao-bon” for Tsutajū, and Tsutajū asks him if maybe he could write the preface to the book for him.

Nishimuraya examines Tsutajū’s finished book, Meigetsu yojō (明月余情), worried that now the sales of his own print series will go up in smoke. Indeed, at Tsutajū’s Tsutaya, his books are flying of the shelves. Meanwhile, the neighborhood ladies show Shinnosuke a copy of Tsutajū’s book, making him sad.

Competition between the two rival groups of the parade dancers has grown ever more fierce, now with Daimonjiya and Wakagiya vigorously dancing with their shirts off. On the final day of the festival, the spectators yell out the kake-goe “Matsubaya” just like at a kabuki play, and the depiction of pine-trees of the Matsubaya bordello can be seen on the backdrop behind the kamuro girls on the float. Tsutajū, and friends, are highly anticipating the dance finale of the two rival groups. Having run out of new options, Daimonjiya and Wakagiya switch their dance accoutrements (hats and fans) and the two groups then dance together, reconciling the two factions. [The text read during this scene is likely from Hirosawa’s introduction to Tsutajū’s book.]

Finally, the oiran are invited to join the festival, and Utsusemi and Shinnosuke spot each other from across the parade dancers. Matsu tells Utsusemi that the festival is a special time allowing for strange occurrences like being “spirited off” (kami-gakushi, 神隠し), and the two hold hands and walk out of the Yoshiwara together [only for a night? or never to return?].

Hirosawa too says that since the gods are present at a festival, uncanny things may occur. Tsutajū asks him if he would be willing to write a humorous guidebook to the Yoshiwara in the guise of an aficionado and under a different penname from what he uses for Urokogataya’s publications.

Meanwhile, at Toriyama’s estate, Toriyama plays the samisen while O’sei (Segawa) looks forlorn, perhaps for missing out on the Yoshiwara festival.

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NHK Synopsis of upcoming eps. 13:

Historical Drama "UNBOUND" Eps. 13: 「お江戸揺るがす座頭金」
Sun, Mar. 30, 20:00-20:44
(Repeat) Mon, Mar. 31, 5:00-5:44; Sat, Apr. 5, 13:05-13:50
https://nhkworldpremium.com/en/episode/334593

Tsutaju hears from Tomeshiro (Mizusawa Rintaro) that Urokogataya is being arrested again for producing counterfeit edition. Urokogataya claims he committed a crime out of desperation due to the debits from the zato led by Toriyama Kengyo. Also in Edo castle, the issue of selling daughters due to debits among the hatamoto, who are direct retainers of the bakufu, has been raised. To address this, Tanuma orders Hasegawa Heizo Nobutame (Nakamura Hayato) to investigate.

蔦重（横浜流星）は、留四郎（水沢林太郎）から鱗形屋（片岡愛之助）が再び偽板の罪で捕まったらしいと知らせを受ける。鱗形屋が各所に借金を重ね、その証文の一つが鳥山検校（市原隼人）を頭とする金貸しの座頭に流れ、苦し紛れに罪を犯したことを知る。一方、江戸城内でも旗本の娘が借金のかたに売られていることが問題視され、意次（渡辺 謙）は、座頭金の実情を明らかにするため、長谷川平蔵宣以（中村隼人）に探るよう命じる。

＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html

Tsutajū’s “Mirror of the Beauties of the Pleasure Quarters” (Seirō bijin awase sugata-kagami, 青楼美人合姿鏡)

Tsutajū’s Seirō Bijin album, depicting the oiran courtesans of the Yoshiwara in color and rendered in situ with background, was co-published in 1776 (安永5, An’ei 5) by Yamazaki Kinbei (山崎 金兵衛) and Tsutaya Jūzaburō (蔦屋重三郎). The NHK “Berabō” drama has it that this was to allow Tsutajū’s publication to be handled outside of the Yoshiwara by the town bookshops, but realistically such a major publication was probably beyond the scope of Tutaju’s capability to produce without assistance at this time. The two famous print artists, Kitao Shigemasa I (北尾重政) and Katsukawa Shunshō (勝川春章), alternated in producing the illustrations for this publication.

Publishing information in Volume Three, “Supplementary Affiliates,” of Seirō Bijin
北尾重政[１世], 勝川春章 画『青楼美人合姿鏡 員外』 (1776), 刊記

The Seirō bijin awase sugata-kagami was a set of 3 booklets:

Volume one, “Spring & Summer” (Shunka, 春夏), had a preface written by Tsutajū himself (3 pages; 1 leaf 1/2) and illustrated the oiran from the top bordellos (ōmagaki, 大籬) of the major houses of the Yoshiwara. Segawa of the Matsubaya is depicted reading a book in the very first illustration of the oiran courtesans.

Volume two, “Fall & Winter” (Shūtō, 秋冬), illustrated the secondary (han-magaki, 半籬) and tertiary (sōhan-magaki, 惣半籬) bordellos of the major houses.

Volume three, “Supplementary Affiliates” (ingai, 員外), continued with illustrations of other oiran but also included poems by the major courtesans; Segawa’s poem is 5th from the left. Volume three also contains the publishing information on the last page, as explained in the top paragraph above.

Cover and preface (by Tsutajū) of VOLUME ONE one, “Spring & Summer,” of Seirō Bijin
北尾重政[１世], 勝川春章 画『青楼美人合姿鏡 春夏』 (1776), 表紙と序
ColBase　 https://colbase.nich.go.jp/collection_items/tnm/A-8773?locale=ja
Tokyo National Museum Collection (A-8773)

“Spring 1” Segawa of the Matsubaya reading a book, from volume one, “Spring & Summer,” of Seirō Bijin
『青楼美人合姿鏡 春夏』「春一」（本を読む瀬川）

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Cover and frontispiece of VOLUME TWO, “Fall & Winter,” of Seirō Bijin
北尾重政[１世], 勝川春章 画『青楼美人合姿鏡 秋冬』 (1776), 表紙と扉絵

“Fall 1” Courtesans of the Ō’ebiya bordello, from volume two, “Fall & Winter,” of Seirō Bijin
『青楼美人合姿鏡 秋冬』「秋一」（大海老屋の女郎）

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Cover and frontispiece of VOLUME THREE, “Supplementary Affiliates,” of Seirō Bijin
北尾重政[１世], 勝川春章 画『青楼美人合姿鏡 員外』 (1776), 表紙と扉絵

“1” Haiku poems by the major oiran courtesans (Segawa’s 5th from left), from volume three, “Supplementary Affiliates,” of Seirō Bijin
『青楼美人合姿鏡 秋冬』「一」（瀬川の俳句）

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However, the idea of publishing a multi-volume album of color illustrations of the Yoshiwara oiran was not original to Tsutajū. Just six years previously, in 1770 (Meiwa 7, 明和7), the Suzuki Harunobu illustrated “A Match of Beauties from the Pleasure Quarters (Seirō bijin awase, 青楼美人合) was published by Koizumi Chūgorō (小泉 忠五郎) et al. Yes, that Koizumi Chūgorō, who in the NHK drama is a minor publisher from Asakusa.

Publishing information in the back of Volume Five of Harunobu’s Seirō bijin awase
鈴木春信 画『青楼美人合』第５冊 (1770)明和７, 刊記

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 11 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 11: "The Tomimoto school & Horseface’s Humanity" 「富本、仁義の馬面」
(originally aired on NHK Mar. 16 (Sun)

At the stockroom of the town bookshop association, Nishimuraya is worried that his “Hinagata Wakana” print series will be overshadowed by Tsutajū’s Seirō bijin awase sugata-kagami (青楼美人合姿鏡), since not only are the courtesans depicted in color and rendered in situ with a background, it’s illustrated by the famous print artists Shunshō and Shigemasa. The ever-supercilious Tsuruya assures him that it won’t sell, because while that’s impressive to them, for the common man on the street probably not so much so, unless they are afficionados of ukiyo-e or the Yoshiwara. And indeed, when customers come to Tsutajū’s bookshop considering the book, they turn away after learning the price.

Tsutajū goes off to a meeting with the Yoshiwara bigwigs to present his new spring edition of the Yoshiwara Saiken guidebook, where the Wakagiya contingent (of second- and third-class bordellos) is also present. Wakagiya announces that they are not going to handle the Kōshodō (Tsutajū’s) edition of the Saiken, but use Urokogataya’s instead. He tells them (the bigwigs of the Matsubaya contingent) that they wish to continue their longstanding association with the town bookshops, Yoshiwara is not just theirs, and stomps out followed by many others including even Kiriya. Daimonjiya (fancy-pants kimono) yells at Tsutajū, you said your Seirō bijin [kenjō (献上), “presented to the shōgun”] would sell, and put ruin to (Nishimuraya’s) “Hinagata Wakana.”

[Apparently, the production of the town edition of the Saiken was returned from Nishimuraya’s hands to Urokogataya’s.]

Outside of the Tsutaya, Jirobei is practicing his chanting to the shamisen. There, Tsutajū runs into a man highly impressed by Tsutajū’s Seirō bijin. Unbeknownst to Tsutajū, he’s the famous author Hirasawa Tsunemasa (平沢常富).

At the bigwigs’ shamisen practice, Daimonjiya and Matsubaya demand to know when Tsutajū’s Seirō bijin will start to sell. Tsutajū tells them that rather than make them wait, he’s brought copies for them to distribute to their best customers. When they realize that they aren’t going to get their loan back, Tsutajū is thrown down the stairs, injuring his foot with his bad landing.

〈after opening sequence〉

The year is 1776 (An’ei 5), Daimonjiya and others from the Yoshiwara are out at a rest-stop to watch the shogunal procession to Nikkō (Nikkōshasan, 日光社参), where the mausoleum of the first shōgun is, when Daimonjiya gets an idea for bringing customers to the Yoshiwara.

Talking to Suwaraya (nice old-man town publisher), Tsutajū explains that his Seirō bijin isn’t selling so he had the bigwigs distribute copies of it to their best customers, and now he has a loan to pay back. Suwaraya tells Tsutajū that he can’t return the Yoshiwara to its former glory at just one go, but Tsutajū can’t think of what to do next.

Tsutajū is summoned to the bigwigs, where he is back to being seated in the lowly position at the threshold just outside the room. Daimonjiya and Ritsu (madame of the Daikokuya) explain their idea for a Yoshiwara event, while imitating the moves of kabuki actors. Their idea is to take the Yoshiwara “niwaka,” akin to a recital performed occasionally in the zashiki (banquet rooms), and turn it into a huge public festival to promote the Yoshiwara and increase its prestige, and also increase the sales of Tsutajū’s publications. Ritsu wants Tsutajū to invite the jōruri chanter, Umazuru Tayū (Horseface, 馬面太夫), to perform as the centerpiece through his connections with Shunshō or Gennai, but Tsutajū has no idea who this Umazuru Tayū is.

On the way to see a performance by Horseface whose proper name is Tomimoto Toyoshi Umanosuke (冨本豊志午之助) and the kabuki actor of female roles, Ichikawa Monnosuke II (市川門之助), they pass by a bookshop selling jōruri pamphlets that have the text of a play, somewhat akin to theater playbills, but also used as a practice book for amateur chanters. The more pricey ones are “by direct-transmission” (jiki-den, 直伝) editions, with the text transcribed directly from the chanter, and hence considered more reliable.

At the theater, Ritsu explains the popularity of the two performers, especially among women, and Horseface is considered to have an alluringly sensual voice. When the actor appears, someone calling out “Takinoya” (滝野屋) can be heard, which is the kabuki guild-name (yagō, 屋号) of Monnosuke II. This shouting out when a favorite actor appears or strikes a pose is called “kakegoe” (掛け声). The act they are performing is titled “Miyako kenbutsu saishiki,” the lyrics below. Outside of the theater are long blue banners advertising the performers, with Tomimoto Umanosuke on the left and Ichikawa Monnosuke on the right.

The jōruri lyrics (script) that Umanosuke is chanting and it’s jōruri booklet:
〔富本豊前大夫直伝〕『都見物彩色紅葉』みやこ けんぶつ さいしき もみぢ

千草の中に恋草は
月の桂の男ぶり
こちの思ひは恋のやみ
恋の黒木のくらがりに
引き出す牛の角文字や
色の野がいの花薄
まねけばそれとおもひ草
草刈笛にあらねども
君が色音に誘われて
妻こふ鹿のよるとだに
菊の下霜下心
いひよるかたもなら柴や
薪に花をおりそへて
おもふよるには
いはれざりけり

Horseface walks out to shouts of glee from the women on the street and Tsutajū is knocked over in the crowd trying to approach him. Tsutajū introduces himself and tries to invite Horseface to participate in the festal, but Horseface says he despises the Yoshiwara. Tsutajū wants to know why, when just then Urokogataya appears chiding him for being rude, and walks away with the Tayū. Urokogataya probably wants to discuss producing a “jiki-den” with the Tayū and Jirobei tells Tsutajū that he’s heard rumors that Horseface is soon to succeed to the name of Tomimoto Buzen (冨本豊前). Tsutajū then fantasizes about producing a “jiki-den” with the Tayū himself, so his bookshop will become renowned for having the very latest up-to-date trendy publications. Jirobei then notices that Tsutajū is walking normally again without his cane.

[Many years ago, I walked out of a dark restaurant into bright sunlight and tripped and fell. Despite x-rays etc., the doctor couldn’t figure out what was wrong and just wrapped my foot in an ace-bandage. My foot got progressively worse until on a crowed elevator, my friend accidentally backed over onto my foot causing a huge crunching noise, but it fixed my foot. Best guess, my foot bones had been out of place. So anyway, this really happens.]

Horseface is watching a performance at a banquet while Urokogataya and a shamisen performer by the name of Namizaki Tokuji (名見崎徳治, 1787−1841) are off to the side conversing. Urokogataya asks Namizaki about horseface succeeding to the Tomimoto Buzen name, but is told he has to wait some time before that will happen.

Tsutajū goes to visit Gennai to get help with Horseface, but Gennai is too busy trying to make electricity to listen. Shinnosuke tells Tsutajū that he’s saving up money towards reducing Utsusemi’s term of service, and Tsutajū tells him in turn that Utsusemi is reading up on practical matters for when she retires from the Yoshiwara. Walking bank along the riverbank towards the Yoshiwara, Tsutajū mulls over his desire to make Yoshiwara a place of greater prestige, and not to be looked-down on or despised as Horseface feels.

At the Tsutaya, Jirobei and Ritsu explain to Tsutajū why Horseface despises the Yoshiwara. Before he was well-known, Horseface came to the Yoshiwara with an actor, but they were discovered, disrobed, and thrown out. Ritsu explains that they were treated so harshly because another customer complained out of jealously about being “serviced” by an oiran after she’d been with an actor. Tsutajū wonders why only kabuki actors, not other performers like Noh or jōruri chanters, are forbidden from the Yoshiwara. Ritsu says because the military bureaucracy deigned them outcastes (shimin no soto, 四民の外) because as stars with high earnings, everyone would want to emulate them and not want to work a normal job anymore.

Tsutajū wonders if he should apologize to Wakagiya to bring him around, when Daimonjiya shows up with and idea to entice Horseface by making a request of Toriyama Kengyō, who is the boss (tōdōza, 当道座) of the blind musical performers.

Daimonjiya and Tsutajū go to the Toriyama estate for an audience with Kengyō, even though Tsutajū is concerned about causing problems for Segawa (her married name now O’sei, お瀬以). Nevertheless, she is happy to see him, but Toriyama overhears them casually joking around as he approaches the room. He reminds them that she is no longer the Segawa oiran, but his wife O’sei.

Toriyama reiterates that their request is to have Horseface succeed to the Buzen name in order to entice him to participate in the Yoshiwara festival. When Toriyama says that would be difficult, Tsutajū asks him if he’s ever heard Horseface’s voice. When O’sei appeals to Kengyō that she’d like to go with him to hear Horseface’s voice too, Kengyō says he doesn’t like crowded places because they are too noisy for him, but if she really wants to go, he’ll take her. Tsutajū suddenly retracts his request and apologizes for causing trouble, then he drags Daimonjiya off with him. O’sei stands up to follow after, and when Toriyama grabs her wrist to hold her back, he notices that her pulse rate is up.

After the Yoshiwara gate is closed for the night, Daimonjiya is exasperated with Tsutajū for giving up so easily, but Tsutajū explains that it would’ve caused trouble for the oiran. Kaori runs into the room to hug Tsutajū, asking him to take her with him. Tsutajū, discomfited, asks her to let go of him. The house-matron (yari-te, 遣り手), Shige, threatens Kaori with her cane to chase her off Tsutajū. Kaori complains that as a bird in a cage, she’s never had the chance to see a play, which gives Tsutajū an idea.

At a banquet house in Mukōjima, Horseface and Monnosuke arrive with a letter of invite from an orain who’s retired from the Yoshiwara, and they hope to acquire her husband as a sponsor (go’hiiki, ご贔屓). However, upon entering the room, much to their surprise, they find Ritsu, Daimonjiya, and Tsutajū awaiting them. Having been duped by the invite, they turn to leave, but Ritsu tells them that though the invite was a trick, there are many oiran would truly want to seem them. Sliding open the fusuma sliding-doors, Ritsu tells the two that these filles-de-joie from the Yoshiwara have come to entertain them to make up for their previous ill treatment at the Yoshiwara. While the actor plays parlor games, Horseface talks to Kaori. Told it’s time to go, they beg for more time and Tsutajū asks the two if they would give a short performance for the filles-de-joie. Watching the performance, their eyes water as the story is overlaid with their experiences in the Yoshiwara. The performers are surprised at the tears, and Tsutajū explains that’s because they’ve never seen a real performance before, and asks won’t they agree to participate in the Yoshiwara festival so that the other oiran can have the same chance. Horseface agrees, for what man can refuse the shedding of tears. Just then Tomeshirō comes in bearing a missive granting permission for Horseface to succeed to the Buzen name. Tsutajū then makes a final request, that Horseface allow him to produce his “jiki-den” jōruri pamphlet.

Back at Toriyama’s estate, he is playing a shamisen when O’sei appears saying she heard that he went to listen to Horseface. He tells her that’s because he had decided to do whatever would make her happy, because she is his wife. She tells him she’s a very lucky, but her face does not look all that happy.

Urokogataya waits for Horseface to catch him outside the theater, begging to be allowed to publish his “jiki-den.” Urokogataya argues that if Tsutajū publishes it, then it can’t be sold in the town bookshops. Horseface says he knows that and that’s why he wants to help Tsutajū, after all that’s the manly thing to do.

Urokogataya returns to his bookshop, where Kurahashi Itaru (倉橋格) is entertaining the son by sketching pictures. Kurahashi apologizes to Urokogataya for what the house chamberlain got him embroiled in [the pirated dictionary], and requests that Urokogataya publish his writings. Thenceforth, Urokogataya will be dedicated to publishing “ao-bon” books, and Tsutajū the Tomimoto jōruri chanting booklets, [until…]

At the Shirakawa-Matsudaira estate in Hatchōbori, Matsudaira Sadanobu (formerly Masamaru) sees his retainers enjoying Urokogataya’s “ao-bon,” disdainful that they are reading a type of book ostensibly for adolescents.

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NHK Synopsis of upcoming eps. 12:

Historical Drama "UNBOUND" Eps. 12: 「俄（にわか）なる『明月余情』」
Sun, Mar. 23, 20:00-20:44
(Repeat) Mon, Mar. 24, 5:00-5:44; Sat, Mar. 29, 13:05-13:50
https://nhkworldpremium.com/en/episode/334592

The battle between Wakagiya (Motomiya Yasukaze) and Daimojiya (Ito Atsushi) for a project supremacy of Niwaka festival kicks off. Meanwhile, when Tsutaju requests Gennai to write a witty account of the behind-the-scenes of the festival, Gennai suggests Hoseido Kisanji as an alternative, who is the man Tsutaju had unknowingly met at Matsubaya before.

昨年に続き吉原で行われる『俄（にわか）』祭り。その企画の覇権を巡り、大文字屋（伊藤淳史）と若木屋（本宮泰風）らの間で戦いの火ぶたが切られた。蔦重（横浜流星）は、30日間かけて行われる俄祭りの内情を面白おかしく書いてほしいと平賀源内（安田 顕）に執筆を依頼すると、朋誠堂喜三二はどうかと勧められる。喜三二の正体は、かつて蔦重も会っていた、宝暦の色男とも呼ばれている秋田佐竹家留守居役のあの男だった…。

＊Permanent link to “NHK Taiga Drama 2025: Berabo (Unbound)” category:
http://blog.livedoor.jp/auberginefleur/archives/cat_50044779.html