Hello all,

A long time ago I adapted a Kabuki performance I went to ages ago to an L5R campaign in 1st edition. It took some liberties but I recall it being a good time. After looking over the play again, I think it actually would adapt itself to the FFG version of L5R even better. Now that campaign is long lost, but I recall it being at a Phoenix winter court... so break out your courts of stones book for this one.

Below are 2 acts of the Kabuki play Sugawara Denju Tenarai Kagami , w ritten in 1746. The programme I bought was a translated copy, so didn't do a great job of explaining the characters and had some unusual word choices. I have made an exact copy below. If anyone is interested in using this idea and would like for me to finish off the play, let me know and I will put the rest in. If not... It was a nice work from home distraction on a slow Easter day:

The Play’s central theme is the exile of Sugawara Mishizane (Kanshjo in the play) to Kyushu through the slander of the rival minister Fujiwara Tokihira (Shihei in the play) and the difficulties endured by his faithful followers in the aftermath. Main among them are triplet brothers, Matsuomaru, Umeomaru, and Sakuramaru, as well as calligraphy disciple Takebe Genzo and his wife Tonami.

Act I. Kamo-zutsumi

Cast: Sakuramaru, Prince Tokiyo, Kariyahime, Kiyotsura, Yae.

Kariyahime, daughter of Court Minister Kanshojo, has fallen in love with Tokiyo, and imperial prince. Sakuramaru sympathizes, and contrives with his wife Yae to arrange a secret rendezvous for them.

On the day when Tokiyo is scheduled to worship at Kamo shrine together with Minister Shihei’s envoy Kiyotsura and other important personages, Sakuramaru manages to get Tokiyo to slip away from the shrine and hides him in a carriage. In the meantime Yae conducts Kariyahime to the site. Then Sakuramaru and Yae discreetly leave the scene, complimenting themselves on their success in arranging a successful meeting of two lovers.

But unfortunately Kiyotsura has discovered Tokiyo’s absence. Suspecting that Sakuramaru is responsible, he comes to seek them out. He finds Sakuramaru and accuses him of having spirited the prince away. He eyes the carriage with suspicion and orders his men to check it for occupants. Sakuramaru fights them off.

In the meantime, the lovers wait for their chance and slip away, hastily hiding themselves in the woods nearby. They leave a note for Sakuramaru in the carriage to inform him of their flight. Kiyotsura, coming back to the scene after the fracas with Sakuramaru, looks into the carriage and finds it empty. He hurries off in order to avoid another confrontation with Sakuramaru. Presently Sakuramaru returns and finds the message left by the lovers.

Yae returns to the site, too and is astonished to learn what has taken place during her absence. On Sakuramaru’s instructions, she changes into Sakuramaru’s garments in order to disguise herself as her husband, and starts to lead the ox-carriage back to palace. As for Sakuramaru, he heads off for the village of Haji in Kawachi where Kariyahime’s mother lives. He feels that Kariyahime, who is Kanshojo’s adopted daughter, might seek refuge at the home of her real mother.

Act II. Hippo Denju

Cast: Kanshojo, Takebe Genzo, Mareyo, Kiyotsura, Arashima Chikara, Kanshusai, Lady-in-waiting Katsuno, Tsubone Minase, Umeomaru, Tonami, Sonou-no-mae.

Scene I: Kanshojo’s residence

The day for Kanshojo’s announcement of his final choice of the disciple to become his heir in the art of calligraphy has arrived. Mareyo comes to Kanshojo’s mansion, being fully confident that he will be the one chosen. He is unaware that Kanshojo has determined to confer the honor on Takebe Genzo, a former disciple who had been banished because of a love affair with Tonami, a woman who had been in the employ of Kanshojo’s household.

While waiting, Mareyo tries to make free with one of the ladies-in-waiting but is cut short in his advances by the arrival of Sonou-no-mae, Kanshojo’s wife. He then tries to gossip about Kariya-hime’s elopement with Prince Tokiyo, bu Sonou refuses to comment, saying that her husband is still unaware of the circumstances, having been in seclusion for the past seven days preparing himself for this day’s ritual.

The arrival of Takebe Genzo and his wife Tonami is announced. Kanshojo had summoned them in spite of having banished them from his household, because he is convinced that Genzo is the most accomplished calligrapher among his many disciples. Sonou gives them a warm welcome.

Genzo is summoned to the formal room of learning, to be awarded the scroll containing the ultimate secrets to the art of calligraphy, while Tonami is taken by Sonnou to another room to wait for the return of her husband.

Scene II. The Room of Learning

In the formal Room of Learning, Kanshojo greets Genzo, and as a matter of ritual, he requests that Genzo write a few prescribed words. Mareyo, chagrined at not having been Kanshojo’s choice, follows Genzo into the room, and tries to humiliate him into refusing the honor. On Kanshojo’s prompting, however, Genzo starts to write the designated words, although Mareyo does his best to hamper him, jiggling his elbow and tipping up his desk.

Kanshojo vies the finished sheet with pleasure and announces that Genzo will be awarded the coveted scroll. However, contrary to Genzo’s hope, he says that the conferring of the scroll will not have any bearing on Genzo’s current state of banishment, and he is not to be reinstated as a member of the household. Genzo is pained at Kanshojo’s cold answer.

A messenger comes to say there is a summons from the emperor, so Kanshojo leaves to make preparations. In the meantime, Sonou comes to the room, hiding Tonami under the flowing hem of her outer garment so that Tonami may secretly catch a glimpse of her former master’s face.

Kanshojo returns dressed in court attire. He notices Tonami but says nothing. Handing Genzo the scroll wrapped in purple silk, he orders him to leave the mansion immediately now that the ritual is over. As Kanshojo turns to leave, his headwear falls off, an evil omen.

Afterwards, Mareyo tries to grab the scroll away from Genzo, and there is a scuffle as Genzo takes it back again. Mareyo leaves, vowing vengeance. Genzo and Tonami take sorrowful leabe of the mansion, seen off by Sonou.

Scene III. Outside the gate of Kanshojo’s mansion

Umeomaru comes rushing to the gate of Kanshojo’s mansion, shouting that his master has been apprehended on some unknown charge and is being brought back to the mansion. Then, from the hanamachi appears Miyoshi Kiyotsura who is followed by Kanshojo guarded by a group of armed men. Kiyotsura announces that Kanshojo has been accused of plotting to depose the present emperor and install Prince Tokiyo in his place, and for this crime he is to be sent into exile. He orders his retainer, Arahima Chikara, to guard the mansion until the place of exile is decided.

Mareyo appears and attempts to beat Kanshojo with a bamboo stick to demonstrate his change of allegiance to his master’s enemy, Shihei. Umeomaru steps in and is about to give Mareyo a thrashing when he in turn is stopped by Kanshojo who reminds him that this situation has arisen at the orders of the emperor and says there must therefore be no resistance from any of his retainers.

After seeing that the gate to the mansion is securely barred, Kiyotsura is about to depart with Mareyo, leaving Chikara and his men to stand guard, when Genzo and his wife step out from the shadows. Genzo strikes Mareyo and throws Kiyotsura to the ground. After a fierce struggle, Genzo manages to drive off the guard. He then beats on the barred gate and is answered by Umeomaru. Genzo explains that, under the circumstances, it would be wisest to take Kansusai, Kanshojo’s young son, away from the mansion to ensure his safety. Umeomaru readily agrees, and bringing the child, passes him over the wall into Genzo’s hands. They are spotted by Chikara and Genzo strikes him down. Genzo and Tonami leave with the child, asking Umeomaru to see to the welfare of Kanshojo and Sonou-no- mae.

4 more acts to go if wanted....

Forgive me for being a dunce, but are you suggesting the play be adapted for an adventure or that the play be a narrative told within the game? The former I must whole heartily agree with. The latter could easily be done as a performance check much like the poetry contest in Winter's Embrace, with the player or character making a check for each act.

16 minutes ago, neilcell said:

Forgive me for being a dunce, but are you suggesting the play be adapted for an adventure or that the play be a narrative told within the game? The former I must whole heartily agree with. The latter could easily be done as a performance check much like the poetry contest in Winter's Embrace, with the player or character making a check for each act.

The former. The programme has a lot more to go to finish the play off.

20 hours ago, neilcell said:

the play be a narrative told within the game?

For that sort of thing, I would use it as the introduction scene of a session, mostly to provide some exposition. I've run a few games where I'll write a script for an intro scene, and hand them out to the players, asking them to read for certain characters, while I narrate stage directions. In 50 Fathoms, the primary villains are a trio of sea hags, so I modeled an opening scene off the witches from MacBeth, had they players read, and then launched into the action. It worked pretty well.

In L5R, I would probably open with the characters watching a Kabuki play, queue up some Kabuki music, and have them read a brief scene. The scene would relate to an event that will be important in whatever adventure I have planned.

It's important to make it short. One page, and done. If their characters want to talk about the play and ask questions, that's fine, but it's mostly there to set the scene and provide some exposition on the Empire. Heck, if they really enjoy it, make the Kabuki troupe recurring characters. If the PCs earn enough Glory, perhaps they'll be the subject of one of the plays...

Dang. Now I gotta do this.

1 hour ago, The Grand Falloon said:

For that sort of thing, I would use it as the introduction scene of a session, mostly to provide some exposition. I've run a few games where I'll write a script for an intro scene, and hand them out to the players, asking them to read for certain characters, while I narrate stage directions. In 50 Fathoms, the primary villains are a trio of sea hags, so I modeled an opening scene off the witches from MacBeth, had they players read, and then launched into the action. It worked pretty well.

In L5R, I would probably open with the characters watching a Kabuki play, queue up some Kabuki music, and have them read a brief scene. The scene would relate to an event that will be important in whatever adventure I have planned.

It's important to make it short. One page, and done. If their characters want to talk about the play and ask questions, that's fine, but it's mostly there to set the scene and provide some exposition on the Empire. Heck, if they really enjoy it, make the Kabuki troupe recurring characters. If the PCs earn enough Glory, perhaps they'll be the subject of one of the plays...

Dang. Now I gotta do this.

I never considered it to be an activity within an adventure. Like I said before, I used it as an entire adventure for a Phoenix winter court after taking some liberties.

I was thinking that ta Kabuki play within the gaming session would act more like an intrigue. The basic and easiest objective would likely be a TN 1 or 2 performance check (lower for earth approach, higher for fire approach if doing a traditional and well known play "by the book") to entertain or please the crowd. More difficult objectives would be to relay a message to the audience again using performance, but a higher check (higher for earth approach but possibly lower for an air, water, or fire depending on how much the message deviates from the plot). Each character would make a check in each act and the successes and bonuses would tally for momentum. And players could work either for the same goal or for separate goals.

As for my earlier comment, I mean adapt the Kabuki play to be a scenario that the characters act out, much like how Wedding at Kyotei was effectively a rendition of "Runaway Bride" crossed with "Romeo and Juliet" but gender swapped. I am al for using classic Kabuki plays as inspiration for an adventure the characters play out.

Act III. Domyoji

Cast: Kanshojo, Kariyahime, Sukune-Taro, Haji-no-Hyoe, False escort Yatoji, Takunai, Tatsuta-no-mae, Terukuni, Kakuju .

Kariyahime has come to Domyoji, the home of her real mother Kakuju, who is Kanshojo’s aunt. It happens that due to Kakuju’s request, Kanshojo has been allowed to spend a short time at Domyoji on his way to exile in Kyushu. Kariyahime is anxious to meet her father, but Kanshojo has refused to meet her because of his current status, and Kakuju, being a stern old woman, also refuses to grant her wish.

Kakuju’s elder daughter Tatsuka, Kariyahime’s sister by birth, is sympathetic, and tries to take Kariyahime secretly to Kanshojo’s room. However, Kakuju catches them and sternly beats the sisters with her cane. The voice of Kanshojo is heard from an adjoining room begging lenience for the girls and granting Kariyahime her wish to meet him.

However, when the door to the room is opened, there is only a wooden statue of Kanshojo there. The three are amazes, but interpret to mean that the statue has spoken the words that Kanshojo wishes to say but cannot speak due to circumstances.

In the meantime, Sukune-Taro, Tatsuta’s husband, and his father, Haji-no-Hyoe, arrive. They have been bribed by the enemy Shihei to somehow waylay and assassinate Kanshojo. As Kanshojo is scheduled to leave at dawn to continue his journey. The pair plan to come for him with a false escort mission. For this purpose, they plan to make a cock crow before dawn by warming its roost, thereby signifying the dawn before it has really arrived.

Tatsuta overhears them, and steps out to admonish them for their evil plans. The men ask her to forget what she heard, and when she refuses, they kill her and throw her body into the garden pond. Hyoe, remembering an old tale about a cock crowing when passing over the spot where a dead body is sunk in the water, puts a cock on a wooden board and floats it out over the pond. As it approaches the spot where Tatsuta’s body has been sunk, it starts to crow.

Hearing the cock, the household prepare for Kanshojo’s departure. Kanshojo comes out, and is escorted out to the carriage which has been readied by the conspirators.

Then, Tatsuta’s absence is noted. A search is made, and a servant, Takunai, finds the body in the pond. Sukune Taro makes a pretense of anger and accuses the finder of the body of being the murderer, but Kakuju knows better. She has seen the piece of cloth that was used to gag Tatsuta and recognized it as having been torn from the hem of Taro’s garments. She seizes Taro’s sword and strikes him with it, accusing him of being Tatsuta’s killer.

A samurai comes to announce that the escort Terukuni has arrived with a carriage for Kanshojo. When Terukuni hears from Kakuju that Kanshojo has already departed, he realizes that it must be the work of imposters and orders an immediate chase. But at this moment, the door opens, and Kanshojo emerges. Kakuju is struck with amazement, and Terukuni accuses Kakuju of deception.

But now a member of the false escort, Yatoji, comes hurrying back. Terukuni retires to an adjacent room to spy on the happening. Yatoji accuses Kakuju of handing over a false Kanshojo, made of wood. Evidently, the conspirators had tried to kill Kanshojo and found a statue in the carriage in his stead.

The door of the carriage opened. To everyone’s astonishment, a flesh-and-blood Kanshojo steps out. The conspirators try to make off this Kanshojo again, but at this point, Yatoji notices the fatally wounded Sukune Taro, and calls Hyoe who steps out from among the false escort.

Hyoe demands to know who is responsible for the killing of his son, and Kakuju says she killed him for murdering Tatsuta. Hyoe attacks her but she is protected by Terukuni who orders his retainers to seize all the conspirators.

Kakujiu looks into the carriage, and is amazed to find that this time there is only the statue there, while another look into the room shows Kanshojo sitting within. Kanshojo explains that the statue had apparently taken on life at crucial moments to save his life.

At last, the time for Kanshojo’s departure can no longer be put off. As he starts to leave, Kariyahime who had come out and hidden under the flowing hem of Kakuju’s cloak, steps out and clings to her father’s sleeve. After a moment of silent parting, Kanshojo flings her off and goes on his way. At the Hatamachi, he turns back for a farewell, and strikes the so-called ‘Tenjin’ mie pose, the pose of the god Tenjin which in later years came to be identified with Kanshojo, that, is Sugawara Michizane.

I think I would handle this as an adventure differently than others.
For Act 1 Instead of Sakuramura and Yae being the ones to hide the lovers, instead have Sakuramura or Yae enlisting the PCs to get both lovers into the carriage and then defend it with their lives. You could even make the lovers a political disaster if it were to come to light or have other, jealous suitors be involved. Sakuramura and Yae could even have a political horse in the this race.

For Act 2 I would try to reuse some of the characters from act one instead of inventing all new ones. For example, the PCs did Sakuramura a solid for helping the two lovers, now something else has come up. He is trying to determine who would succeed him as master of his school. It could be calligraphy or it could be martial arts or anything. His prime candidate is Mareyo, but he has become distrustful of him though he wouldn't say it aloud. He has another candidate in mind, an exile from the family or clan, Genzo. The Master wishes the PCs to test Genzo, his spirit and integrity to see if he has learned lessons from his exile. The Master says he cannot do this himself for a few reasons: 1. He cannot be seen courting the exile and 2. He has been summoned to see the emperor and he is preparing for the trip.
Now, of course, Mareyo is mad at all of this going on. Why is the Master dragging his heels on naming his successor? He should do it before he leaves. Then he notices the exile has returned and believes something is up so he begins to make schemes to sabotage the exile, sour him to the court and even make deals with rivals to his own clan in order to secure his position. It all comes to a head the day the Master leaves to see the Emperor and he is arrested on accusations of being Kolat and having a sinister reason to see the Emperor to undermine the Empire. Is he really Kolat? Was this all a machination of Mareyo? Now we have a investigation adventure.

Those are my thoughts on the first two acts and how to change them from a strictly narrative form to an adventure that stars the PCs and where their actions can influence the outcomes.

Act IV. Kurumabiki

Cast: Umetsuomaru, Sakuramaru, Matsuomaru, Sugiomaru, Tonai (footman with an iron staff), Shihei

The brothers Sakuramaru and Umeomaru meet by chance near Yoshida Shrine. Sakuramura is downcast because he feels he has unwittingly had a hand in causing the downfall of the former State Minister Kanshojo through his act of secretly arranging a clandestine rendezvous for Kanshojo’s adopted daughter Kariyahime and her lover Prince Tokiyo, and imperial prince. Shihei, Kanshojo’s rival, had utilized the affair to his advantage, and Kanshojo had been banished to Kyushu as a result. Because of these circumstances, Sakuramaru is contemplating suicide in atonement, but is held back by the fact that the brothers are expected to assemble at their father’s home to celebrate his 70 ^th birthday, and he hesitates to mar the occasion by his death.

As he is confiding his thoughts to his brother, a footman comes by clanging an iron staff to clear the way for the ox-drawn carriage of an aristocrat. The brothers learn the carriage is that of enemy minister Shihei and hurry off to hide so that they can attack the carriage when it comes by.

However, they find that their combined strength hardly matches that of the enemy. As they come swaggering out to accost the enemy’s carriage they are confronted by they guard Sugio-maru who recognizes them as Matsuomaru’s brothers. He taunts them on their current masterless situation and asks them whether they have not gone out of their minds to attack the powerful Shihei’s carriage in such a manner. The two brothers refuse to back down at Sugio-maru’s challenge and remain determined to strike Shihei. But now Matsuomaru comes along and prepares to oust his brothers by force. The assembled footmen all give a rhythmic shout of “Arya, Korya” to emphasize the moment of the encounter.

A contest of strength among the brothers ensues as they strike a pose holding lengthwise a closed parade-umbrella with Matsuomaru in the center, all three heaving and pushing and jerking their heads sideways five times to the roll of drums off stage, symbolizing the force exerted by the three in their struggle.

But now the carriage splits open and Shihei appears in threatening mien, the makeup of bluish grey and white symbolizing Kabuki’s evil aristocrat. He glares at the two brothers who are completely awestruck at the sight and lose their power to attack. Matsuomaru taunts them with the power of his new master against whom both Sakuramaru and Umeomaru are helpless.

But when Matsuomaru makes as if to strike them down, Shihei stops him, saying that such an act would defile his pilgrimage to Yoshida shrine, and that he will let the two go unharmed as a reward for Matsuomaru’s loyalty to him. All three brothers are unwilling to let it go at that, but they restrain themselves for the moment because they must all attnd their father’s 70 ^th birthday celebration in spite of their differences.

Incidentally, Kabuki plays are essentially all day performances in real life with a very particular kind of stage. I purchased ticket starting at 430pm, which was the second half of the play. Watching it was an absolutely amazing experience. The performance has a full troupe of actors as well as these guys clad in black who are positioned behind the actors, often holding their costumes up, or manipulating props. Eventually everyone just forgets they are there. A potential realistic twist for anyone who might want to run a kabuki play within their adventure. If anyone is curious about the basics....

And, IIRC, the tradition of 'ninja' being dressed all in black like that is because of these people. In one (some?) famous play(s) an assassin steps out from amongst the 'backstage' staff to kill a character. It was as surprising to the audience as if one of the prop tables in a theatre show suddenly stood up and attacked somebody.

50 minutes ago, Tonbo Karasu said:

And, IIRC, the tradition of 'ninja' being dressed all in black like that is because of these people. In one (some?) famous play(s) an assassin steps out from amongst the 'backstage' staff to kill a character. It was as surprising to the audience as if one of the prop tables in a theatre show suddenly stood up and attacked somebody.

There are all kinds of possibilities with this little play that I thought of when I watched it. I thought GMs might be able to use all of it, or even just a small portion in their games.

One random element from and older edition, if people are interested and might find it useful, is an in-setting play called The Sins of Lord Bumikari .

It's quite an intriguing one.

At the start, the named Lord is in a room with a dead geishsa you subsequently learn he was in love with, despite being married. It's implied - but critically not shown - if he killed her or not, and if so if it was accidental.

Over the play he gets steadily more erratic and has to take risks to hide what's happened, whilst at the same time a war breaks out with Lord Shubi, his rival.

The final scene pits him in a dilemma where he is accused by his wife, and his options are reduced to murdering her secretly in order to remain in command, win the war and save his lands, or else confess, commit seppuku, and spare his wife but in the process condemn his army to lose the war.

The play then ends before he makes the decision, leaving the audience to decide what happened...

Act V Ga-No-Iwai

Cast: Sakuramaru, Matsuomaru, Umeomaru, Chiyo, Haru, Shiradayu

Scene: Shiradayu’s home at Sata

Matsuomaru’s wife Chiyo, Umeomaru’s wife Haru and Sakuramaru’s wife Yae have all arrived at their father-in-law, Shiradayu’s house in the country, and are busily preparing the meal for Shiradayu’s 70 ^th birthday celebration. As the brothers are unaccountably late in arriving. Shiradayu takes Yae, the youngest of the wives, with him to worship at a nearby shrine. Actually, however, Yae’s husband Sakuramaru has already come and secretly met his father and confided something of tragic import to him.

While Shiradayu and Yae are still gone, Matsuomaru and Umeomaru arrive in turn but glare at each other in enmity. They get into a fight, in the course of which they accidentally break off a branch of a cherry tree, one of the three trees in the yard prized by Shiradayu. The three trees are pine, plumb and cherry which had been planted at the time of birth of the triplet brothers and symbolize respectively Matsuomaru (pine), Umeomaru (plumb), and Sakuramaru (cherry). Consequently the damage to the cherry tree somehow seems to portend evil for Sakuramaru.

Shiradayu on his return immediately notices the damaged tree, but contrary to the brothers’ expectation, he does not break out in anger against them. Relieved, Matsuomaru takes the opportunity to hand to his father a written request to be disowned. This is because he is now affilitated with the enemy side. Shiradayu grants the request without comment and banishes him from the house. Chiyo follows Matsuomaru in tears. Next, Umeomaru too hands a written request to his father, asking to be allowed to go to Kyushu to serve their former master Kanshojo who is now in exile there. But Shiradayu refuses this request. Disappointed, Umeomaru takes his leave, accompanied by Haru, but instead of going directly, he hides himself where he can watch the proceedings at the house.

Yae, wondering why her husband is so late in arriving, is watching from the door when she is surprised to hear his voice calling from the inside. She is aghast when she sees that Shiradayu has placed before Sakuramaru a tray on which is laid the short dagger for committing suicide. Sakuramaru explains to her the circumstances of which he has already spoken with his father, saying he was in a way responsible for Kanshojo’s downfall through his abetting the elopement of Kanshojo’s daughter Kariyahime and prince Tokiyo, this providing the rival minister Shihei with the ground for his slander that Kanshojo was plotting to usurp power by installing the prince on the throne. In order to atone for the indiscretion that has brought about Kanshojo’s ruin, he has decided to die by his own hand, and his father has agreed to this.

After Sakuramaru’s death. Yae attempts to die too but is stopped by Umeomaru and Haru who run out from their hiding place and urge Yae to become a nun to offer prayers to console her husband’s soul. In the meantime Shiradayu makes quick preparations and heads off for Kyushu to join Kanshojo in his exile.

On a personal note, I can clearly remember scene 5. There was a lot of effort and foreshadowing on the symbolism of the trees as the brothers names come from each (boys names often end in -maru in older Japanese names. So... Sakuramaru (Sakura=cherry blossom tree), a symbol of duty and the fleetingness of life. Umeomaru (Ume = plumb tree) is often a symbol of courage and finally Matsuomaru (Matsu= pine) is symbolized as longevity.. Although I dont think they really played into that virtue very much. The breaking of the branch was a big moment.

And now for the final act in the play...

Act VI. Terakoya

Cast: Matsuomaru, Chiyo, Lady Sono-ou, Kanshusai, Kotaro, Genba, Tonami, Takebe Genzo

Scene: Home of Takebe Genzo

Takebe Genzo is a former disciple of Kanshojo, the exiled minister, who had been a great master of calligraphy. Out of loyalty to his former teacher, Genzo and his wife Tonami are secretly harboring Kanshojo’s son Kanshusai, disguising him as their own son. Genzo is running a small country calligraphy school teaching the local children in order to make ends meet. On this day as usual, a group of unruly country children are practicing calligraphy in the schoolroom during Genzo’s absence. To this country school a woman of unusual refinement had come earlier that day with a small boy whom she had entered to the care of Genzo’s wife Tonami while she herself goes on an errand to the neighboring village.

Presently Genzo returns home. He has been summoned by the authorities and been informed that it is known that he is sheltering Kanshojo’s son Kanshusai. He has been ordered to kill the boy and submit his severed head as proof that the order has been carried out. Consequently Genzo is in somber mood when he comes home. He has no intention of killing his benefactor’s son but is at a loss as to how to save him. He has no son of his own to serve as a substitute, and as he looks glumly at the faces of the peasant children before him, he realizes that none would ever pass for Kanshusai. But at this point Tonami brings in the new boy to introduce him. Genzo sees immediately that this boy, unlike the others, is delicate featured and fair skinned. Learning from Tonami that the boy’s mother has gone on an errand, he explains the situation to Tonami and reveals his intention to sacrifice the new boy in place of Kanshusai. Tonami is aghast at the idea but she too cannot help but realize that there is no other way to save Kanshusai.

Now an enemy official, Genba, comes to the house for the purpose of seeing that the order for Kanshusai’s death has been carried out. He is accompanied by Matsuomaru who, as a former servant of Kanshojo’s household, would be familiar with Kanshusai’s features and be able to vouch for his identity, thereby removing the possibility of a substitute. Matsuomaru, although he had once served Kanshojo, is now in the service of the enemy minister Shihei and is reviled by his former colleagues because of his betrayal of his former master. He has taken on the duty of identifying Kanshusai’s head on condition that Shihei release him from service on the excuse of his poor health.

The peasants of the neighborhood crowd around the school, anxious to bring their own children home to safety. One by one the children leave with their respective parents after careful scrutiny by Matsuomaru at the entry.

Presently all the children except Kanshusai, who has been hastily hidden in the closet, and the new boy Kotaro, who has been taken to an inner room, are gone. Genba and Matuomaru enter the house demanding that Kanshusai’s head be presented immediately. Matsuomaru is as gruff as Genba, but the truth is that he is the new boy Kotaro’s father, and the woman who had brought the boy to the school is his wife Chiyo. Matsuomaru, in spite of being in service of Shihei, has harbored a secret loyalty to Kanshojo, and has chosen to sacrifice the life of his own child to save that of Kanshusai.

Genzo leaves the room to carry out his unhappy mission. In the meantime, Matsuomaru counts the desks in the room, and notes that there is one more than the number of pupils who left. Tonami nervously starts to explain that there was a new pupil that day, but Matsuomaru hastily interrupts her, warning her that such an attempt to lie about her situation is useless. Tonami recovers her wits enough to say that the extra desk is Kanshusai’s, but her slip of tongue is enough to inform Matsuomaru that Chiyo has brought Kotaro to the school as planned.

The sound of Genzo’s sword blow is heard and Matsuomaru reels, knowing that it is undoubtly his own son who has been killed. He goes into a fit of coughing to hide his emotion as well as to carry on his show of being in ill health. Genzo returns to the room with the head casket which he places before Matsuomaru. Matsuomaru goes through the head-inspection act slowly and deliberately, suppressing his grief. The head, as he had expected, is that of Kotaro. Genzo and Tonami watch with bated breath, afraid that he will discover their deception, but to their immense relief, Matusomaru announces that the head is indeed of that of Kanshusai.

Genzo leaves with the head in the casket, and Matsuomaru, now that his duty is over, is free to leave Shihei’s service. He departs in his palanquin. In the meantime, as Genzo and Tonami are congratulating themselves on their immense good luck in having succeeded in carrying out the deception, Chiyo returns to the scene. Genzo cannot afford to have the truth become known at this point. While speaking civilly to her and saying that the child is playing in the next room, he suddenly attacks her with his sword. Chiyo defends herself by holding up her child’s desk, which breaks. A funeral garment and prayer cloth fall out of the desk. Genzo hesitates a moment in puzzlement, and Chiyo asks whether her son has served the purpose of saving Kanshusai’s life.

Genzo asks her identity, but it is Matsuomaru himself who provides the answer, appearing again unexpectedly at the entrance. He gruffly tells Chiyo to rejoice, for their son has served their purpose. Genzo, still not understanding the full situation, starts to attack Matsuomaru whom he still regards as a traitor. But Matsuomaru tosses his own swords on the floor before Genzo and Tonami. Chiyo bursts into tears, and Matsuomaru reprimands his wife for her show of weakness, but soon he too gives way unashamedly to his grief. Kanshusai comes out from hiding and joins them in tears.

Matsuomaru uses a whistle to summon a palanquin, which is brought to the doorway at his call. Kanshojo’s wife, Sonou-no-mae, alights from the palanquin. Matsuomaru has aided in her escape from the enemy and brought her here to be reunited with her hon. In the meantime, Kotaro’s body is placed in the palanquin for the trip to the burial ground, and the tearful company offer incense and light the traditional fire at the doorway to send the boy’s soul on its way.