The origin of good and bad characters expresses the moral lessons of good and evil in a fun way. A masterpiece of kusazoshi created by Tsutaju and Kyoden.

The image below is the opening scene of Kanninbukuro Ojime Zentama.

The work depicts an interaction between an editor and an author that could happen today.

Tsutaya Juzaburo is visiting Sankyoden’s home to pick up a manuscript. Kyoden (with his adorable nose) is sitting at the desk on the left. Serving tea is Kyoden’s wife, Okiku. As you can tell from the Tsutaya family crest, Tsutaju is sitting on the right.

This page shows the scene where Tsutaju is urging Kyoden, saying, “Even if I have to use my foot as a pestle, my voice as dry as mustard, etc., I must pray for your portrayal of good and bad characters.” The artist is also Sankyoden (Kitao Masaaki).

From the yellow-covered "Kanninbukuro Ojime no Zendama" (The Patience Bag and the Good Treasure) (published in 1793 by Tsutaya Juzaburo) illustrated by Kyoden. Original stock available at Ukiyo-e Cafe.

“Kanninbukuro Ojime no Zendama” is a popular kusazoshi (Japanese traditional painting) that reflects the culture and social climate of the late Edo period. This work serves as a moral book on the theme of good and evil, and was written during the Kansei Reforms, when restrictions on expression were a tough social backdrop for the publishing industry.

[Story]
The story pits “good guys” and “bad guys,” symbols of good and evil, against each other over the human heart. The bad guys tempt men to commit evil deeds and attempt to undermine their morals. Meanwhile, the good guys thwart these actions and encourage repentance. In the male psyche, the conflict between good and evil is used to examine human morality and ultimately to preach the importance of good deeds.

The villain seduces a man, while the villain holds him back. Characters like the Eyeball Man, with their light-hearted touch, became popular. The "villain dance" ("villain dance") became popular after this.

This work is linked to the social education policy of the Kansei Reforms, and the trend toward strengthening frugality. After Tanuma Okitsugu’s downfall, Matsudaira Sadanobu strictly monitored publications to maintain social order. Works with moralistic themes like “Kannin Fukuro Ojime Zentama” were more popular than yellow-covered books with gossipy themes. Since a mere moral lesson wouldn’t be interesting, Tsutaju and Kyoden likely devised interesting illustrations and stories to attract readers. In a sense, “Kannin Fukuro Ojime Zentama” may have been born precisely because of the Kansei Reforms.

The original “Kannin Fukuro Ojime Zentama” (not a reproduction) is on permanent display at the Ukiyo-e Cafe.