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This essay explores the portrayal of the famous shirabyoshi dancer Shizuka in an illustrated, hand-copied book (nara ehon) dating from the late sixteenth century. The text for the nara ehon, taken from a somewhat earlier ballad-drama (kowakamai), describes Shizuka's capture by her lover's brother and enemy, the shogun Minamoto Yoritomo. In the tale, Shizuka and her mother are taken from the capital to Kamakura, Yoritomo's headquarters. Shizuka bravely refuses to reveal her lover's whereabouts, spending her time in captivity defiantly demonstrating her formidable skills and erudition to Yoritomo and his retinue. By contrast, the illustrations of the text provide a counter-narrative stressing the loss and suffering that Shizuka endures during her time in Kamakura, ignoring some of the most famous parts of the narrative, including a defiant dance she performs at the Tsurugaoka Hachiman Shrine in front of Yoritomo and his men. I focus on the juxtaposition between text and image in this work, stressing the discontinuities between the two, especially in comparison with other, near-contemporary nara ehon versions whose illustrations more closely follow the text. I argue that the increasing enclosure and control of women during the late medieval period is reflected in the portrayals of Shizuka and her mother, whom we see only in captivity or on forced journeys that could end in death. KEYWORDS: shirabyoshi-nara ehon-Kamakura shogunate-Minamoto Yoritomo- Minamoto Yoshitsune-Shizuka (ProQuest: ... denotes non-US-ASCII text omitted.) Shizuka ?..., beloved of the great general Minamoto Yoshitsune ..., is among the most celebrated female characters from the early medieval period. A famed shirabyoshi ... performer, she is the subject of narrative, performing arts, song, and image. She represents many things in many contexts: beauty, heroism, virtue, artistry, and female perfection (Nait. 2004, 3.4). Legend has it that her dancing skills ended a drought, her attentiveness saved Yoshitsune from a night attack, and her defiant loyalty to Yoshitsune earned her grudging respect from her lover's brother, the shogun Minamoto Yoritomo ..., as well as empathy from Yoritomo's wife, Hojo Masako .... This essay discusses a nara ehon ... version of the k.wakamai ?... Shizuka, which recounts Shizuka's forced trip to Kamakura and interview with Yoritomo after she has parted from Yoshitsune. K.wakamai, or ?gballad drama,?h was a performing art involving dramatic recitation of a story; its strong narrative element lent it to textualization by the late Muromachi period in works including this nara ehon (a kind of hand-copied book with colorful hand-painted illustrations), dating from the sixteenth century and held by the Library of Congress (hereafter LC). The LC text is one of a number of extant nara ehon versions of this tale, including two others that have been digitized by the Kokubungaku Kenky. Shiryokan ?... (National Institute of Japanese Literature, hereafter NIJL).1 As an illustrated text grounded in a performance tradition, the LC nara ehon is one discrete manifestation of the vast body of works comprising the ?glegends about Shizuka?h (Shizuka densetsu ?...),2 and represents a multidimensional artifact for understanding how tales about Shizuka developed and were reinterpreted as cultural norms changed during the late medieval age. This study argues that the details of the LC nara ehon's images, as well as the scenes chosen for illustration, suggest a recasting of the base narrative that results in a story resonating strongly with medieval revelatory tales while downplaying Shizuka's celebrated identity as a performer. The LC nara ehon is a ?glarge format?h book comprised of two volumes with dimensions of 34 x 25 cm. The covers are of torinoko paper ... with an uchigumori ... (?gcloud-figured,?h meaning color gradation from blue-green at the top to purple at the bottom) pattern (Figure 1). The text is composed on ogami . …

Tonsuring the Performer: Image, Text, and Narrative in the Ballad-Drama Shizuka