Kamiya Koemon was the main character of the rakugo art of storytelling piece titled “Daibutsumochi.” But when Katsura Bunraku VIII (1892-1971), a master rakugo storyteller of the Showa Era (1926-1989), staged it in 1971, the character's name slipped his mind even though the program was his hobbyhorse. “I'm very sorry. I'll go back and study it again,” he told the audience.

　Bunraku found himself at a loss for words and never returned to the stage. Though his story-telling reached the level of state of the art with his articulate delivery, in his later years, Bunraku had prepared words of apology in anticipation of the dreadful day when he would forget his lines on stage, according to “Nihonjin no Jiden” (Autobiographies of Japanese), published by Heibonsha Ltd., Publishers.

　Sanyutei Enraku, a top rakugo storyteller, announced his retirement on Feb. 25 after giving a stage performance of “Shibahama.” “I'm no longer able to articulate properly nor can I control the strength of my voice. My intonation is unclear, and I can't get across the nuance of the stories I tell,” he said. Enraku suffered a stroke in 2005, but returned to the stage after undergoing rehabilitation. His decision to leave the stage is quite regrettable.

　“I think some people in the audience would tell me that I can still perform, but I would not allow myself to seek too much favor of them,” he said. The words express his pride and devotion to rakugo, an art form in which he played a prominent role.

　“Performing art is about pacifying people's minds and nullifying hierarchical order,” wrote Zeami Motokiyo in the 15th century in his book “Fushikaden,” according to “Nihon Shiso Taikei” (A compendium of Japanese thoughts), published by Iwanami Shoten Publishers. If entertaining and touching many people is the purpose of the performing arts, Enraku, too, must have striven to hone his talent to that end.

　When performers reach the age of 50,“they have no other means but to do nothing,” Zeami wrote. However, in referring to a performance by his father when he was 52, who established a foundation of Noh, a form of musical drama, Zeami wrote: “It was particularly resplendent and received the admiration of all the audience.” May Enraku's unique style of rakugo be kept alive and pass down to younger storytellers.

　神谷幸右衛門。落語の「大仏餅」は、しゃべり慣れた演目なのに、その名前が出てこない。「申し訳ありません。もう一度、勉強しなおしてまいります」

　▼昭和の名人といわれた八代目桂文楽が高座で絶句したのは1971年で、以後高座にあがることはなかった。精巧で、寸分の狂いもない芸を極めた文楽だが、晩年は、高座で絶句するという恐ろしい日に備えて、あのわび口上のけいこまでしていたという（『日本人の自伝』平凡社）

　▼三遊亭円楽さんが、高座で「芝浜」を演じた後に引退を表明した。「ろれつが回らなくて、声の大小、抑揚がうまくいかず、噺（はなし）のニュアンスが伝わらない」。一昨年に脳梗塞（のうこうそく）で倒れ、リハビリを続けて高座に戻ってきたのに、残念なことだ

　▼「お客さんは『まだまだできる』と言って下さると思いますが、それに甘えてたんじゃ、あたし自身が許さないんです」。一時代を担ってきたという誇りと芸への厳しい思いがにじむ

　▼「芸能とは、諸人の心を和らげて、上下の感をなさむ事」と、世阿弥の「風姿花伝」にある（『日本思想大系』岩波書店）。多くの人を楽しませ、感動させることが芸能の目的だとすれば、円楽さんもそうした芸のために才を磨いてきたのだろう

　▼世阿弥は、50歳を超えたら「何もしないこと以外には手段もあるまい」とする一方で、52歳になった父観阿弥の舞台が「ことに花やかにて、見物の上下、一同に褒美せしなり」とも記した。円楽さん特有の花が、枯れることなく、後進に伝えられるようにと念じたい。（２月２７日付）