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The “Suzugamori-no scene, saya-ate-no scene” in “Ichiyazuke shigumino tanehon” was informed by the active intervention of Tsutakichi, the publisher of shohon-utsushi-gokan “Nagoya sanza/fuwa hanzaemon/chiyonoharu tosae-no saya-ate” which received an inspection seal in 1861. The work was completed one year before the performance. Considering the author’s comments, the reason for the publication of this work is assumed, which places the world in the context of “Fuwa Nagoya,” one year before the performance. As for “Kisoyama-no scene”, although Kabuki kyogen (a play written around the publication time of this work in Edo) was not drafted, there are Kamigata yakusha-e from the same period that are very similar to this work. Additionally, it was determined that the world of this work is that of “Miyamoto Musashi”, who is also mentioned in the theatrical story. The props, storyline, and illustrations suggest that this is the world of <Miyamoto Musashi>. Namely, <Miyamoto Musashi> is a renowned world that has been handed down through the generations from the first Kabuki performance of “Katakiuchi Ganryujima” in 1737, the early 19th century theatrical story “Kombumaki Shibai”, the “Kisoyama-no scene” in this work　published in 1860, and the Yakusha-e (portrayals of actors) of the Meiji period.

Santei Syunba II, Ichiyazuke shigumino tanehon, illustrated kabuki script, playbook, Miyamoto Musashi