偉人・敗北からの教訓 2025年1月18日 第76回「蔦屋重三郎・寛政の改革に抗ったメディア王」
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00:00Although it was a coincidental victory, all the defeats were inevitable.
00:07How did the foreign players, who had colored the history of Japan, lose?
00:13What were the causes and mistakes behind it?
00:18This time, we will unravel the defeat of the Edo Hanmoto, Tsutaya Juzaburo, who created the bestseller of Kuruzen.
00:29With the power to plan and discover new talents one after another,
00:35why was the media king who ruled Edo punished for being targeted by the shogunate?
00:46Life philosophy learned from the failures of the defeated.
00:53Lessons from the defeat of foreign players.
01:02What do we learn from the failures of foreign players in history?
01:09I'm Yuri Nakanishi, voice of Shinko.
01:14And I'm Jun Ito, a historian.
01:17Nice to meet you.
01:19Japanese culture, such as Kabuki and Ukiyo-e, has flourished in the Edo period.
01:29That's right.
01:31The Edo culture is said to have flourished in the Edo period.
01:35However, as the Meiji period approached, it gradually faded away.
01:39Ukiyo-e was buried in the Edo period.
01:42However, it was re-introduced by the world.
01:47This is the Paris Expo in 1867.
01:50Ukiyo-e had a great influence on the painters of the Impressionist period.
01:55That's where the Japanese-style boom took place in Europe.
01:59Goh imitated the famous Edo Hyakukei,
02:02and made a masterpiece called La Japonaise.
02:07This is the man who inspired the Edo culture.
02:13Let's take a look at the loss of Juzaburo Tsutaya.
02:20What did he do?
02:23Tsutaya is actually a Japanese name.
02:27Juzaburo Tsutaya started a bookstore called Koushodo.
02:33Tsutaya had a great influence on the Edo period.
02:37Juzaburo Tsutaya was active from the middle to late Edo period.
02:42It seems that it was a time when the culture was reversed.
02:46In the Shogun's time, there were 9 Ie Shugen, 10 Ieharu, and 11 Ienari.
02:54In these three periods, Tanuma, Okitsugu, and Matsudaira Sananobu
02:58seized political power.
03:00In the Tanuma period, the Edo culture flourished,
03:03and Juzaburo Tsutaya was very active.
03:06In the Sananobu period, he started the reformation of Kansei.
03:11The Juzaburo Tsutaya lost the war.
03:14This time, we will look at the loss of Juzaburo Tsutaya
03:18and look for a lesson to live for tomorrow.
03:21First, let's take a look at Juzaburo Tsutaya's life.
03:25Please take a look.
03:28Utamaro, Sharakura,
03:30Juzaburo Tsutaya, who raised many creators and artists,
03:37was born in Yoshiwara, Edo in 1750.
03:45At the time when Tsutaya started to be active,
03:48the Edo culture flourished with the commercial policy of Tanuma and Okitsugu.
03:54Among them, Yoshiwara was the birthplace of Wakfu,
03:59which was the birthplace of various cultures and trends.
04:06At the age of 8, Tsutaya became the son-in-law of the Kitagawa family,
04:11who ran a tea shop called Tsutaya near Yoshiwara Omon.
04:17At the age of 24, Tsutaya opened a small bookstore and a library.
04:24After that, he got the publishing rights of Yoshiwara's guidebook, Yoshiwara Saiken.
04:32When Yoshiwara Saiken, which utilized the idea sense and the sense of the city,
04:39became popular, Tsutaya became independent.
04:44At the time, the bookstores that were popular were Kyokabon,
04:48Kibyoshi, which was the place where the Seisou was held,
04:51and Sharebon, which was the place where the Yukaku was held.
04:55These bookstores were very popular.
04:57When the era of Ichiaku came,
05:00Tsutaya became the first city to have a famous group of people in just 10 years.
05:06They moved to Toriabura-cho, Nihonbashi.
05:13Tsutaya's bookstores were very popular.
05:18Tsutaya was the leader of the publishing house in Edo,
05:21with many popular authors.
05:25However, when the old beast, Sadanobu Matsuda,
05:28started to reform the Kansei,
05:30the direction of the wind changed at once.
05:36The Makufu strictly punished the anti-Moto and writers
05:39who were involved in the development of the Kansei.
05:49In such a reverse wind,
05:51Tsutaya adopted the popular writer, Santo Kyoden,
05:55and started to publish Sharebon, which was the place where the Yukaku was held.
06:01The Makufu mercilessly rejected it,
06:06and Tsutaya was punished severely for collecting half of Tsutaya's property.
06:13Why did Tsutaya know the danger
06:16and decided to publish the problem book?
06:20This time, Tsutaya, who fought against the Makufu as the leader of popular culture,
06:25was about to lose.
06:30Now, let's look back at the main events of Tsutaya's life.
06:35In 1777, Tsutaya became independent as an anti-Moto.
06:40What is the role of the anti-Moto in modern society?
06:45The word anti-Moto is still used today.
06:48The meaning of the word is to dig up a crime and own it.
06:52However, in the Edo period,
06:54the anti-Moto carried out planning, editing, and production by themselves,
06:59and not only that, but also went to Oroshi and Kouri.
07:03The type of anti-Moto was called Shomotsu-doiya.
07:06It was a specialty shop.
07:08It was run by a high-ranking Kamigata shogun.
07:13On the other hand, it was run by a shogun of Edo,
07:16called Jihon-doiya.
07:18Tsutaya's business was Jihon-doiya.
07:21It seems that Tsutaya's birthplace, Yoshiwara,
07:24was the most advanced area in Edo at that time.
07:28Yoshiwara was a place where women had to fight against men
07:33because it was a place where women were not allowed to have sex.
07:37However, it was not just a place for women to have sex.
07:41It was also a place for women to have a sense of pride,
07:45which was called Hari.
07:47It was a place where women did not throw away their pride
07:50without becoming rich.
07:52It was the only place in the world where such a culture was born.
07:56All the accessories such as kimonos, kushi, and kanzashi
08:00were made by women.
08:03They were really entertainers.
08:05It was not just for women.
08:07Customers also cherished the beauty of tsu.
08:10They tried to be liked by women
08:13by taking care of their clothes, belongings, and hair.
08:18There was even a place for customers to dress up in tsu.
08:22It was a set.
08:25From the hair to the kimono.
08:27Tsutaju was also born in Yoshiwara.
08:30As a member of a large community called Yoshiwara,
08:34he promoted Yoshiwara through the media called Shuppan.
08:38In response to this,
08:40Yoshiwara's friend, Nanken,
08:42invested in Tsutaju's project.
08:45Tsutaju and Yoshiwara built a win-win relationship.
08:50Tsutaju, who was born and raised in Yoshiwara,
08:53the most advanced city in Japan,
08:55how did he rise to the top of the world?
08:59There is a genius business sense
09:01that captures the needs of the times.
09:04Please take a look.
09:06Katsushika, Hokusai.
09:09Toshusai, Sharaku.
09:11Kitagawa, Utamaro.
09:14Jippensha, Ikku.
09:16Kyokutei, Bakin.
09:19Edo artists whose names everyone in Japan has heard of.
09:26Tsutaju, or Tsutaya Juzaburo,
09:29was the one who discovered them and sent them to the world.
09:34How did Tsutaju become so talented?
09:40Tanaka, who studies Edo culture,
09:43talks about the strength of Tsutaju,
09:46as well as his interest in Edo culture.
09:50I wanted to create something that had never existed before.
09:54I wanted to break that mold.
09:59That was my plan.
10:03I wanted to see something like this.
10:05I wanted to read a book like this.
10:08I had that kind of planning power.
10:12I guess you could say I was directing the artist.
10:17I don't think anyone has done that before.
10:24Tsutaju shares his own image with the artist.
10:29He creates a new genre.
10:32He has published a number of books,
10:37such as the Kiri-Bon series,
10:40and the Go-Daku series, which meets the needs of the public.
10:44He has continued to be at the forefront of popular art.
10:50Tsutaju was born here in Yoshiwara.
10:57At the time, Yoshiwara was the home of the Bakufu.
11:03It is located in the northern part of Asakusa.
11:07There is only one entrance, surrounded by caves and forests.
11:13About 8,000 people, including 2,000 women,
11:17lived in the 300-meter-wide space.
11:24Yoshiwara also has a restaurant, a grocery store, and a barber shop.
11:31Yoshiwara was a magnificent city.
11:39I think it is good to say that the whole city
11:44is a place of traditional culture and art.
11:48I think most of what we think of as Japanese culture
11:53was created by women.
11:58Yoshiwara was not only a place of friendship,
12:01but also a place of high-class culture and entertainment.
12:04It was also a popular place for many people.
12:12Kuruma-san, who knows the culture of the time,
12:15says that Yoshiwara is the origin of Tsutaju's success.
12:21I was born in Yoshiwara.
12:24Since I was a child, I have seen a lot of ministers,
12:27great merchants, and intellectuals.
12:30I think I was a young boy who grew up with them.
12:33As I watched how successful people were,
12:37I wondered how I could become like them.
12:44At the age of 24,
12:46Tsutaju started a bookstore and a library at the entrance to Yoshiwara.
12:51The owner of the bookstore was Yoshiwara Saiken,
12:54the guidebook author of Yūkaku.
13:01Tsutaju's books were sold like hot cakes,
13:04and Yoshiwara Saiken became the founder of Tsutaju.
13:08Since then, Yoshiwara Saiken has been selling Tsutaju's books exclusively.
13:15Why did Tsutaju's books become popular?
13:19If you compare Tsutaju's books with the original,
13:22you can see that Tsutaju's books are larger in size.
13:27If you look inside,
13:30the original has one volume per page,
13:34while Tsutaju's books have two volumes per page.
13:41Tsutaju's books are divided into two volumes.
13:45The book itself is divided into two volumes,
13:48and the pages are divided into two volumes.
13:55If the number of pages is reduced,
13:57the volume of books is reduced,
13:59and the cost of digging and milling is reduced,
14:03so the price of the books can be reduced significantly.
14:08Tsutaju's books were also highly regarded
14:12for their accurate and new information.
14:18This was the strength of Tsutaju,
14:20who was born and raised in Yoshiwara.
14:25After Yūkaku Guide,
14:27Kyōka, which was a big hit at that time, caught our attention.
14:32Tsutaju's books were the only books
14:35that the first-class cultured people could read
14:38with a strong sense of social status and sarcasm.
14:45Tsutaju combined the illustrations of Ukiyo-e
14:49and created a new genre called Kyōka.
14:55At that time, most of the works read in Kyōka Salon
14:59were discarded,
15:01and Tsutaju always thought it was a waste.
15:06So he became a Kyōka-shi and jumped into the salon,
15:10inviting many friends and holding various events.
15:17He sold the read Kyōka as a collection of works.
15:22By strengthening his connection with Kyōka-shi,
15:26Tsutaju developed a new genre called Kyōka-e-hon,
15:30which is a combination of large illustrations of Kyōka.
15:35This series became a hit work
15:38with the power of illustrations and illustrations
15:41that are easier to understand than text,
15:44just like modern manga.
15:47This series became a hit work
15:50that won the hearts of many people.
15:57One of the best-selling works is
16:01the illustration of Ehon Mushierami,
16:04which was based on the still-unknown Kitagawa Utamaro.
16:11It is a realistic depiction like an insect painting,
16:14and it was a great hit work
16:17that utilized the method of Nishiki-e,
16:20which is an old-fashioned way of drawing.
16:27In addition, Tsutaju pays attention to the novel genre
16:31called Kibyō-shi,
16:33which makes people laugh by mixing jokes and customs.
16:38It is a battle to see how powerful
16:41a writer can be.
16:46Tsutaju publishes new works of popular writers
16:49one after another,
16:52and gathers topics at once.
16:55Why did Tsutaju gather so many hit makers?
16:59There is a hidden secret
17:02that only Tsutaju can reveal.
17:07The Secret of Tsutaju
17:10The Secret of Tsutaju
17:13The Secret of Tsutaju
17:16The Secret of Tsutaju
17:19The Secret of Tsutaju
17:22The Secret of Tsutaju
17:25Why did Tsutaju, the new writer,
17:28gather so many popular writers?
17:32In fact, many of the writers at that time
17:35were unemployed,
17:38so they didn't get paid.
17:42That's why Tsutaju
17:45invited them to come to Yoshiwara
17:48and made them popular.
17:51For Tsutaju, who grew up in Yoshiwara,
17:54for example, what would make this teacher happy,
17:57what would make this teacher like this person,
18:00he was able to welcome them
18:03to Yoshiwara.
18:06Even now, rather than just taking them
18:09to the top of Ginza,
18:12I think it would be better
18:15to take them to a place
18:18where they can relax and eat delicious food.
18:21When you go to Tsutaju,
18:24you can have a good feeling,
18:27people invite you,
18:30and the number of readers increases.
18:34Ten years after its start in Yoshiwara,
18:37the store moved to Nihonbashi Toriabura-cho,
18:40where the headquarters of Shinisei is located,
18:43and Tsutaju became a member
18:46of the first-class headquarters.
18:49However, Tsutaju was not
18:52simply a profit-oriented company.
18:55What was important
18:58was to create a brand
19:01that targets people who are
19:04lively and sensitive.
19:09Tsutaju continues to send information
19:12that excites people,
19:15such as books that are ahead of their time.
19:18Tsutaju established the image
19:21of a fashionable and attractive bookstore,
19:24and it became the mainstay
19:27of the media in Edo.
19:31His marketing ability,
19:34creating a trend,
19:37and creating a brand,
19:40he is a great pioneer
19:43that makes you wonder
19:46if it was the story of the Edo period.
19:49Tsutaju's mother, Mio Koshi,
19:53wrote in her book that
19:56Tsutaju's mother, Mio Koshi,
19:59did not call anyone.
20:02Tsutaju was a strategist,
20:05but I think he was a marketer.
20:08He had a close relationship
20:11with Yoshiwara,
20:14which was at the center of the trend,
20:17and Tsutaju.
20:21I think his aggressive attitude
20:24brought great success to Tsutaju.
20:27Where do you think this idea came from?
20:30Yoshiwara, of course.
20:33What's interesting is that
20:36Yoshiwara has become a tourist destination.
20:39Yoshiwara was the first place
20:42Onobori wanted to visit in Edo.
20:45It's the same for women.
20:49Yoshiwara held various events
20:52throughout the four seasons.
20:55It was like a theme park.
20:58I heard that you interacted
21:01with popular writers in Yoshiwara.
21:04I was surprised that
21:07most of the writers were samurai.
21:10Actually, most of them were samurai.
21:13Tsutaju's influence was
21:16spread throughout the four seasons.
21:19I think it was a period
21:22where people interacted with each other.
21:25The genre of literature
21:28that was born in Edo
21:31has a social spirit.
21:34Is there a reason for that?
21:37The spirit of literature is very important.
21:40It's important to look at politics
21:43In this period,
21:46they didn't have any ambition
21:49to change the political system.
21:52Collecting and analyzing information
21:55is a rule of success,
21:58but it is also the fate of the world
22:01to be shot at.
22:04The more people stand out,
22:07the more enemies there are.
22:10Tsutaya, who appeared in the film
22:13of the same name,
22:16has been targeted by the shogunate.
22:19The countdown has begun.
22:24The publishing industry in Edo
22:27has developed under the influence
22:30of the Tanuma Okitsugu commercial policy.
22:33However, the direction of the wind
22:36has changed due to Tanuma's disqualification.
22:39The people are dissatisfied
22:42with the narrow society
22:45under the influence of the Tanuma Okitsugu commercial policy.
22:52Tsutaya, who felt the wind,
22:55created a series of works
22:58that promoted reform politics
23:01with his novel, Kibyoshi.
23:10The book published by Tsutaya
23:13was left in the library of Kodaira.
23:19It is the two ways of Bunbu Nido Mangoku
23:22and Oumugaeshi Bunbu.
23:28It was a big hit
23:31as it thoroughly explained
23:34Matsudaira Sadanobu's reform
23:38What kind of content was it?
23:45Bunbu Nido Mangoku
23:48is a story about Shigetada Hatakeyama
23:51who received the order of Yoritomo
23:54from Minamoto in the Kamakura period.
23:57He divided the samurai
24:00into those who were good at Bun
24:03and those who were good at Bu.
24:06It is a story of Sakura samurai.
24:11The two ways of Bunbu Nido Mangoku
24:16The prime minister of the Heian period,
24:19Kan Shuusai,
24:22taught Minamoto Yoshitsune
24:25for the sake of the Shogunate.
24:28The samurai imitated
24:31Ushiwakamaru's Sennin-giri
24:35and practiced horse-riding
24:38as a woman's body.
24:46Hatakeyama and Kan Shuusai
24:49were models of Matsudaira Sadanobu.
24:52The people who came to see it
24:55laughed a lot.
24:58Yamasaki, a historian,
25:01explained Sadanobu's feelings.
25:08When I heard about it,
25:11I didn't feel good at all.
25:14I remember I was very angry.
25:18Sadanobu, an old man,
25:21realized that he was being ridiculed
25:24by his own politics.
25:28He was very angry
25:31and put pressure on the author.
25:37Kisanji Hoseido, a popular writer,
25:40was crushed by the pressure.
25:46Harumachi Koikawa,
25:49was ordered by the Shogunate
25:52to commit suicide.
25:56On the other hand,
25:59Tsutajyu, the founder of the Shogunate,
26:02did not.
26:05Why did Matsudaira Sadanobu
26:08miss Tsutajyu?
26:11Yamasaki thought like this.
26:14Tsutajyu was a very influential media king.
26:17He was afraid that he would become
26:20a huge enemy of democracy
26:23because he had a lot of power.
26:26He was afraid of many people,
26:29including politicians.
26:33The Shogunate became more cautious
26:36when Tsutajyu created a work
26:39that influenced politics.
26:49He became a bestseller
26:52and lost two popular authors at the same time.
26:55Tsutajyu immediately
26:58started his next strategy.
27:03If Kibyushi is no good,
27:06I will use Charlebon.
27:09He decided to use Charlebon,
27:12which would change his fate.
27:15Charlebon was a book
27:18that depicted the history of the Shogunate.
27:21It could be used
27:24as a stage play.
27:31However, Tsutajyu did not like
27:34the work of Kibyushi.
27:37He chose the genre of the Grey Zone.
27:43On the other hand,
27:46Kibyushi had a rebellious spirit
27:49towards the Shogunate
27:52and tried to put an end
27:55to the culture of Edo.
28:00Tsutajyu asked for this Charlebon
28:03from a popular author,
28:06Santo Kyoden,
28:09who retired from the Shogunate
28:12after being fined by another book.
28:15When Kibyushi read Kyoden,
28:18he expressed his respect
28:21in the book
28:24and showed his willingness
28:27to promote the book.
28:34As a result,
28:37there was a possibility
28:40that the Charlebon
28:43could be used as a stage play.
28:46However, this was not an absolute no-no.
28:49The Charlebon
28:52only had the word
28:55Futsusukanaru-gi written on it.
29:01The Shogunate
29:04was a part of the Shogunate.
29:09The Shogunate
29:12was a part of the Shogunate.
29:16The Charlebon,
29:19a symbol of luxury and luxury,
29:22may not be allowed to be sold.
29:27If it is not published,
29:30there is no punishment.
29:33Everyone else
29:36runs away to safe works.
29:39But is it really okay?
29:45Tsutaju's answer was
29:48to continue publishing it.
29:52Tsutaju was on the side of the common people.
29:55He was on the side of the common people
29:58and the weak.
30:01So I think he rebelled
30:04against the government.
30:07Tsutaju's argument was
30:10his rebellion against the government
30:13and his stubbornness as a rebel.
30:16I knew I was being looked down upon.
30:19But I couldn't imagine
30:22that I, as a rebel,
30:25wouldn't publish a book.
30:28What would I publish next?
30:31People were waiting for it.
30:34I think I was happy to publish it.
30:44In October, 1932,
30:47Tsutaju was given the task
30:50of conducting a demonstration.
30:55At the time,
30:58Tsutaju had an idea.
31:02As long as he passes the test,
31:05he might be able to publish a book.
31:10So Tsutaju put a textbook
31:13in his book bag.
31:16In the post-edition,
31:19he claimed that he was writing
31:22to show the readers
31:25how to read and write.
31:32The book was successfully published
31:35and was finally released
31:38in the following year.
31:41However...
31:48The government didn't miss this book.
31:56The book was completely disposed of.
32:00The author was sentenced to 50 days in prison.
32:05Half of Tsutaju's property was confiscated.
32:12Tsutaju was sentenced to death.
32:18Despite passing the test,
32:21why was Tsutaju punished?
32:25I think Tsutaju was keeping an eye on Tsutaju.
32:28He was supposed to pass the test
32:31and publish the book,
32:34so he was allowed to do so.
32:37However, Tsutaju's case was
32:40a bit irregular
32:43because the Ministry of Welfare
32:46suddenly intervened.
32:49So Tsutaju might have instructed him
32:52not to publish the book.
32:55Tsutaju wanted to bring back
32:58the smiles of the people
33:01while the workers were being punished.
33:04He was a great power.
33:07He was a good example
33:10for those who criticized the reform.
33:13After this,
33:16Tsutaju was resurrected from defeat.
33:22He didn't defend himself at all.
33:25Even when he felt threatened,
33:28he kept attacking the grey zone.
33:31I think that's why he was
33:34more attentive to the situation.
33:39It's natural for him to think it's good
33:42because he passed the test.
33:45It's not good to be told it's bad later.
33:48Why did Tsutaju publish the book
33:51when he didn't want to be punished?
33:55Here is Jun Ito's point of view
33:58from the point of view of a historian.
34:03According to the article written by
34:06the Ministry of Welfare,
34:09it's a crime to publish something
34:12that's not good for the people.
34:15The Ministry of Welfare
34:18doesn't have a standard.
34:21It's subjective.
34:24However, half of Tsutaju's property
34:27was confiscated,
34:30so he had to pay back half of the money.
34:33As a result,
34:36he had to leave the store in Yoshiwara
34:39and only opened the store in Nihonbashi.
34:42He was brave and determined
34:45to oppose the authority of the government.
34:48However, if he loses,
34:51he will involve the people.
34:54So be careful.
34:57Tsutaju was punished by the Ministry of Welfare
35:00for publishing the book.
35:03However, after that,
35:06he published the book again and again.
35:09What did Tsutaju do to recover from his defeat?
35:12Tsutaju was punished by the Ministry of Welfare
35:15for publishing half of the book.
35:18This is what Iwakaki-hi wrote in his letter.
35:25Juzaburo was a bold man,
35:28so he didn't look like he was afraid.
35:35I think he had a rebellious spirit.
35:38He was determined not to lose
35:41and was a strong man.
35:45Tsutaju was punished by the Ministry of Welfare
35:48and he rewrote the Kyoden,
35:51which he refused to write again.
35:55He requested a sequel to the popular novel
35:58called Zendama Akudama.
36:06He put the negotiations into a book
36:09and made a lot of PR.
36:15On the other hand,
36:18he made a plan to rebuild the shop.
36:21He teamed up with his best friend,
36:24Utamaro Kitagawa,
36:27and made the beautiful Okubie.
36:31Until then, the beautiful painting
36:34was a full-bodied portrait
36:37without any facial expression.
36:44However, Tsutaju and Utamaro
36:47broke the theory
36:50and closed up the model's face
36:53to show their individual personalities.
36:58Tsutaju then announced
37:01that he would make 28 portraits
37:04and surprised the public.
37:11He painted the famous
37:14Toshusai Sharaku.
37:18The debut work of Sharaku
37:21is kept in the Chiba Art Museum.
37:24This is the third one
37:27that Sharaku painted,
37:30Edo Bay in Otani Onichi.
37:34It was his drawing ability
37:37that attracted the public's attention.
37:40Until then,
37:43the beautiful painting was a full-bodied portrait,
37:46but Sharaku boldly deformed
37:49the features of Sharaku's big nose
37:52to show his individuality.
38:00In addition, he painted the background
38:03luxuriously with a glossy material
38:06called Kurokira
38:09to make the actor stand out.
38:14Besides Utamaro and Sharaku,
38:17Tsutaju discovered many other people.
38:22Kyokutei Bakin and Jippensha Ikku
38:25worked in Tsutaju's shop
38:28and polished their skills.
38:31They soon got a big chance.
38:35Hokusai Katsushika
38:38painted the last work with Tsutaju,
38:41Enoshima Shunbou,
38:44with a unique wave.
38:47It was 30 years ago
38:50when Tsutaju was born.
38:55Tsutaju passed away at the age of 48.
39:02His grave is located
39:05in Shoboji, near Yoshiwara,
39:08where Tsutaju was born and raised.
39:11The remains of the day he died are left.
39:16Tsutaju, who was suffering from illness,
39:19said,
39:22I will die this noon.
39:25He said so,
39:28leaving his wife and disciples
39:31to say goodbye.
39:34However, he is still alive.
39:37So Tsutaju,
39:40with the curtain of his life
39:43and the curtain of his play,
39:46is still alive?
39:49That was his last words.
39:55I don't have money,
39:58I don't have honor,
40:01and I don't have the fear
40:04of being left behind.
40:07I just want to realize this in me.
40:10I want to bring this out into the world.
40:13I want to live as a kind of artist.
40:16If we can live like that,
40:19I think the world will be more interesting.
40:28She wanted to entertain people.
40:31She wanted to surprise people.
40:34She wanted to enjoy herself.
40:37Sometimes she resisted power,
40:40but she continued to pursue her strength.
40:47I think there were many obstacles
40:50such as the pressure from the shogunate.
40:53If this is not good,
40:56let's try this way.
40:59If this is forbidden,
41:02let's try this way.
41:05I think that power is his strength.
41:09I think that no one can deny
41:12the sharpness of his reading.
41:15I think that the appearance of Sharaku
41:18was a revolutionary thing.
41:21He wrote 28 plays
41:24and released them at the same time.
41:27At that time, the people of Edo enjoyed Kabuki.
41:30The theater where Kabuki was performed
41:33was allowed by the shogunate.
41:37In those days,
41:40Nakamura, Ichimura, and Morita
41:43were the three seats of the Edo Shogunate.
41:46They were the only places where Kabuki could be performed.
41:49However, after the reformation of Kansei,
41:52the management of these three seats
41:55stopped.
41:58So the shogunate lent it to Hikae Yagura,
42:01a medium-sized theater company.
42:05At the same time, Kabuki was released.
42:08I think that Tsutaya
42:11used Kabuki as an opportunity
42:14to lend money
42:17to Hikae Yagura.
42:20Ito-san, what do you think
42:23is Tsutaya's best point?
42:26First of all, I think it's his prudence.
42:29Tsutaya read the trends of the market
42:32and introduced new things
42:35to control the trend.
42:38Next, it's his ingenuity.
42:41Tsutaya's ability to discover new people
42:44is not a wave.
42:47Most of them have great success later.
42:50And then, it's his enthusiasm.
42:53When he decides to do something,
42:56the vitality to realize it is amazing.
42:59It's like Sharaku, who failed
43:02because he went too far ahead of his time.
43:05But if you know Sharaku's current evaluation,
43:08Tsutaya will do it.
43:11Once again, from the defeat of Tsutaya,
43:14what is the lesson we should learn in life?
43:17Learn the secret.
43:20If there was no reformation of Kansei
43:23and the management of these seats,
43:26the publishing culture of Ido
43:29centered on Tsutaya would have been more beautiful.
43:32Tsutaya still has a very good sense
43:35as a businessman.
43:38Based on the advice of other companies
43:41and other publishers,
43:44he made something that would have been okay.
43:47However, at that time,
43:50there was no law.
43:53I think he was a scapegoat.
43:56I think it's important to know the secret
43:59when we live.
44:02If you have excellent ideas and execution,
44:05there should be many more opportunities.
44:08When the wind is bad,
44:11please don't overdo it.
44:14This is the lesson from the defeat of Tsutaya.
44:24I heard a lot of interesting things about Edo culture
44:27through Tsutaya today.
44:30If there was Tsutaya in the same era,
44:33I was very excited
44:36about what he would show us next.
44:39He is a real entertainer.
44:42I think Edo culture has bloomed so much
44:45thanks to Tsutaya.
44:48Thank you, Mr. Saito.
44:53This is the lesson from the defeat of Tsutaya.
44:56See you next time.