What is “oraimono” in Episode 17?
Why did Tsutajyo want to sell oraimono?

Episode 17 of the taiga drama “Berabou” sees the story moving toward the middle.

Due to resistance from publishers in the city, Tsutajyo was finding it difficult to sell Hosomi outside of Yoshiwara. So, he decided to sell educational materials called “oraimono” to the provinces.

Oraimono were teaching materials used at terakoya (temple schools), which supported learning in Japan for 900 years before the establishment of modern elementary schools. During the peaceful Edo period, education greatly influenced career advancement.

As a way to simultaneously develop sales channels and attract buyers, he asked influential people to help with editing. However, once the book was completed, the influential people involved in editing it knew how to buy it themselves for the sake of showing off. This scene shows Tsutajyo’s scheming side. From his works, we can imagine that the real Tsutaju was a manager who was more solid and meticulous in his planning than his flashy side.

We also speculate that the reason Tsutaju dealt in oraimono was because they could expect stable sales every year. During the Kansei era, it is said that there were around 10,000 terakoya schools across the country. New students were admitted to terakoya every year. During the Edo period, not only samurai but also merchants and farmers studied at terakoya schools from the age of 6 to around 17, with desks lined up. Every year, new students purchased or borrowed oraimono. Even though the number of copies printed was small, this likely resulted in stable sales. Since sales could be made from a single board for a long period of time, sales for the following year could be predicted. What’s more, they could be sold not only in urban areas but also in rural areas. Oraimono are said to have originated as collections of sample letters for the exchange of letters. They covered a wide range of content, including how to read and write kanji, arithmetic, geography, and history. Famous authors included Takai Ranzan and Jippensha Ikku. The representative “Teikin Orai” (Teikin Orai) is a compilation of etiquette and letter-writing rules for samurai society, and was widely popular during the Edo period. Furthermore, Japanese mathematics, as exemplified by Yoshida Mitsuyoshi’s “Jinkoki,” describes highly advanced arithmetic even by global standards, and an efficient mathematical system using the abacus spread to the provinces. The historical drama “Berabou” introduced the “Kousaku Orai” (for farmers) and the “Daiei Shobai Orai” (for merchants). The Ukiyo-e Cafe is currently exhibiting two original Edo period works, “Teishin Sanpoki” and “Onna Imagawa Enkobai,” two representative correspondence works created by Tsutaya Juzaburo.

Profit Calculation Method, Koshodo Edition, 1788, Tenmei 8, compiled by Saito Takarin

Onna Imagawa Tsuya Koubai (Female Imagawa Tsuya Koubai), Tenmei 1, Koshodo Print

Reference Books, National Book Database

The Prosperity of the Daimonjiro in Shin Yoshiwara by Utagawa Kunichika

Summary
● Author: Kunichika
● Publisher: Tsujikameban
● Publication Year: Meiji Era
● Number of Volumes: 3
● Commentary: 3-Panel Nishikie

Daimonjiya, one of the three major brothels in Shin Yoshiwara. The first Bunro (year of birth unknown) was the owner of the Daimonjiya brothel in Shin Yoshiwara. He was commonly known as Ichibei. Bunro was a pen name. A man of the same name, known as a kyoka poet (Kyo-nama Kahocha Motonari), had his adopted son (Ichibei) appear in the play Berabou.

overview

Bunro was originally from Ise Province and is said to have opened a brothel in Shin-Yoshiwara in 1750 (Kan’en 3). Initially, he operated a low-class riverside establishment, but in 1752 (Horeki 2), he moved to Kyomachi 1-chome (4-40-6 Senzoku, Taito Ward, Taito Ward Yoshiwara Park) and took the name “Daimonjiya,” becoming one of the leading store owners. It seems that he originally called his business Murataya, after his family name, but after a dispute with his family, his shop curtain was confiscated. He apparently replaced the curtain with a new one when he moved, adding the character “Dai” (大) to create the new name. His wife was Souou Naisho (real name Naka), a well-known female kyoka poet in the Yoshiwara ren. He later adopted the second Bunro (Ichibei), who apparently married him and succeeded him as the second head of the family. He died in 1780 (An’ei 9) at the age of just over 60. His posthumous Buddhist name is said to be Shakubutsu Myokaho Shinji. Even his posthumous Buddhist name is Pumpkin, to match his stage name!

Known as an eccentric, when he still had a riverside shop he would buy large quantities of pumpkins to serve as prepared meals for his courtesans, earning him the nickname “Pumpkin (Kabocha) Ichibei.” It’s also said that the name comes from his large head and short stature, leading to teasing such comments as, “Here comes a pumpkin from Kyomachi Omonjiya. Its name is Ichibei. It’s short, and it really does have monkey eyes. How cute, how cute.” However, he would go ahead and sing and dance to the song, which ended up promoting his shop. This song spread from Yoshiwara to all of Edo, becoming a popular song, and many parodies were written. He also had a love of gardening, and after devising a way to add spots to a Japanese pine orchid, he was given the name “Bunro Madara” (Bunro Madara).

[The great name of Daimonjiro, Tagasode]
“Daimonjiya’s Tagasode” painted by Utamaro at the Seiro Shichikomachi

The Great Name of Daimonjiya, Tagasode, Utamaro

In the 2025 NHK Taiga drama “Berabou: Tsutajueika no Yumebanashi,” Haruka Fukuhara plays Tagasode, a courtesan from Daimonjiya.

In the Yoshiwara Saimin (Yoshiwara Guidebook) created by Tsutaya Juzaburo, the name of each courtesan at Daimonjiya is written with “Yobidashi” next to “Tagasode.”

At the time, among the high-class courtesans of Yoshiwara, Yobidashi were the most prestigious. They were truly courtesans worthy of the great name of Daimonjiya.

Taresode is no longer included in the Yoshiwara Saimin published in New Year’s Day in 1784 (Tenmei 4). This was the year she was bought by Tsuchiyama Sojiro.

The Manzai Kyokashu (Collection of All Kyoka Poems), published in the New Year of 1783 (Tenmei 3), was edited by Shikata Akara and Shura Sugae. The publisher, Suharaya Ihachi, collected 748 poems by 232 poets. One of these was Dare Sode. She wrote, “I have long prayed for this paper case, so that I will not forget it. And yet, I long for you even more.”

The courtesans of the time were well-versed in all arts and even kyoka poetry.

Dare Sode of Omonjiya was bought by the hatamoto Tsuchiyama Sojiro for the large sum of 1,200 ryo in 1784.

Tsuchyama Sojiro was originally a vassal of the shogun, but became a hatamoto and served as head accountant under Tanuma Okitsugu. He was a highly accomplished figure in the Tanuma faction. However, following Tanuma’s downfall, embezzlement was discovered and he went on the run. Dare Sode’s whereabouts have since been unknown. Although she was famous during her glamorous days in Yoshiwara and was offered a large sum of money, she had an unfortunate life.

Year of Production: 1835 (Tenpo 6)
Artist: Utagawa Kuninao/Illustration
Publisher: Tsutaya Juzaburo III Edition, Asakusa Kaminarimon Gate Store

List of Shin Yoshiwara Temporary Residences

Approximately 90 major fires were recorded during the Edo period (a total of 260 years). Most of Edo was hit by a major fire every three years. Each time, Shin Yoshiwara continued to operate as temporary residences, renting space in nearby areas. To distinguish itself from the brothels, they displayed official Shogunate certification and signs. Surprisingly, the temporary residences actually increased convenience and attracted more customers. Most fires within the red-light district were caused by arson committed by prostitutes. While this was a serious crime punishable by death, there was no end to the prostitutes who were willing to go to such lengths to leave the red-light district.

These fires are known as the three greatest fires of Edo.

The Great Fire of Meireki

　On January 18, 1657 (Meireki 3), a fire broke out at Maruyama Honmyo-ji Temple in Nihongo. When a long-sleeved kimono was burned at Honmyo-ji Temple, the fire spread and caused a major conflagration, hence the name Furisode Fire.

The fire destroyed the Honmaru, Ninomaru, and Sannomaru areas of Edo Castle, as well as over 500 samurai residences, over 300 temples and shrines, over 9,000 warehouses, and 61 bridges. It is said that over 100,000 people died, making it the largest fire of the Edo period. During reconstruction, fire prevention was prioritized in urban development.

A picture of the Meireki fire from "Illustrated History of Firefighting in Japan"

Great Fire of Meiwa

　On February 29th, 1772 (Meiwa 9), a fire broke out at Daienji Temple on Gyoninzaka in Meguro, destroying the entire downtown area from Azabu and Shiba to Nihonbashi, Kyobashi, Kanda, Hongo, Shitaya, and Asakusa, killing several thousand people. Also known as the Gyoninzaka Fire.

From "Photo-illustrated History of Firefighting in Japan"

Cultural conflagration

On March 4, 1806 (Bunka 3), a fire broke out in Shibakuruma-cho and spread to Nihonbashi, Kyobashi, Kanda, and Asakusa. Over 80 samurai residences, 80 temples and shrines, and over 500 neighborhoods were reduced to ashes, killing over 1,200 people. It’s also known as the Kuruma-cho Fire or the Heijin Fire.

The Meireki, Meiwa, and Bunka fires are known as the three greatest fires of Edo.

The name of the artist, “Tsutaya Juzaburo, inside Asakusa Raijinmon Gate,” is inscribed in the lower left corner of the painting, referring to Tsutaya Juzaburo III. On January 25, 1830, a fire broke out at a corner block and completely destroyed the Shin Yoshiwara pleasure district. This illustration serves as a guide to the temporary residences used by the residents. This bird’s-eye view of Yoshiwara and the Sumida River, with Sensoji Temple at its center, reveals winding roads reminiscent of a European port. A closer look reveals symbols indicating the size of the brothels and the names of their owners inscribed on the roofs of the townhouses.
“The World of Yoshiwara in a Snap III, Part 1”: A temporary residence guide map by Tsutaju III. On January 25, 1833, a fire broke out in Kadomachi, completely burning down the Shin Yoshiwara pleasure district. Symbols indicating the size of the brothels and the names of their owners are inscribed on the roofs of the townhouses. Symbols and names of brothels are also inscribed on the Yoshiwara pleasure district land on the left, indicating that some establishments operated as temporary residences within Shin Yoshiwara rather than outside Yoshiwara.
Temporary residences were also set up in the Honjo and Fukagawa areas, but this map is limited to those in Taito Ward, such as Yamanoyado and Hanakawado.

Reference Materials
Taito City Library, Fire and Disaster Prevention Museum

This work depicts the view of the Suijin Forest and Masaki (Masaki Inari Shrine) on the opposite bank of the Sumida River from Mukojima. Masaki Shuhen was a scenic spot that has been the subject of numerous kyoka poems.
This water god was said to ward off drownings and fires, and was deeply revered not only by boatmen sailing on sailing ships but also by ordinary people. Masaki Inari Shrine has been merged into what is now Ishihama Shrine. The banks on the east bank of the Sumida River were once famous cherry blossom viewing spots, rivaling Gotenyama and Asukayama. The overall color palette is soft, and in the background, the outlines of Mount Nantai and Mount Nyotai can be clearly seen, with Mount Tsukuba in full bloom. In the foreground, the cherry blossoms are in full bloom in the splendor of spring. The cherry blossoms, Okawa River, and Mount Tsukuba create a scenic view that makes full use of Hiroshige’s signature perspective.

From the Edo period through to the Taisho period, Mikawashima (now Higashi-Nippori, Arakawa Ward), located north of Shin Yoshiwara, was a habitat for cranes. Every November, when the red-crowned and red-crowned cranes arrive, a bamboo enclosure is set up and the cranes are fed. It is a scene that is hard to imagine today, but originally the area north of Yoshiwara was a wetland area overgrown with reeds, making it a good feeding spot for the cranes. It was also the hunting grounds for the Tsuru no Onari ceremony, in which the Shogun would capture cranes while falconrying and present them to the Imperial Court.
The red-crowned crane is a large bird with a wingspan of over one ken, and Hiroshige used “kurasuri” (sky-sliding) to create the three-dimensional effect of the crane’s large wings. The image of the crane flapping its fluffy feathers is very lively.

Price: 22,000 yen (tax included)

Washi Myojin Shrine (now Asakusa Washi Shrine) was located to the west of Shin Yoshiwara. Behind (north of) Sensoji Temple were rice paddies, farmland, and reed fields. Capitalizing on the recent popularity of cats, this work has also become popular, but it is also noteworthy that the printer used a technique called “kimedashi” to create a recessed area in the iconic cat to give it a three-dimensional appearance.
The painting is set as a view from the waiting room of a brothel looking towards Washi Myojin Shrine, and outside the window we can see a large number of people making their way to the “Tori no Machi” (Tori Festival). Turning our eyes to the inside of the room, we see a small rake on the tatami mat. On closer inspection, we see a row of rake-shaped hairpins.
As the character for “tori” (rooster) is related to the character for “take” (to take), many people would visit Tori no Ichi to pray for prosperity in business.

Price: 22,000 yen (tax included)

This is one of Hiroshige’s masterpieces, and the striking contrast of red and white with the perspective seen through the Kaminarimon Gate is a striking sight. This painting shows the Niomon Gate and five-story pagoda from the snow-covered Kaminarimon Gate of Sensoji Temple. The pagoda has since disappeared and no longer exists.

Hiroshige has perfectly depicted the contrast between the red Kaminarimon Gate and the thick white snow. A highlight of this ukiyo-e is the dynamic use of the printer’s technique, karazuri, which involves printing an indented area without applying paint. This technique is similar to 3D technology in modern terms.

The appeal of this painting lies in the realistic, skillful three-dimensional depiction of the falling snow and the snow piled up on the branches. This popular work is brimming with the charm of woodblock prints made with washi paper, something that cannot be replicated through printing.

A masterpiece of a humorous story written by a connoisseur of Yoshiwara. Santo Toden is the guide to the love affairs of courtesans.

This is a tale of the tactics of Shin Yoshiwara, written by Santo Kyoden, the ultimate connoisseur who bought the freedom of two courtesans. A humorous story from the late Edo period. Published in 1790 (Kansei 2).

This illustration depicts the Chinese immortal Kinko Sennin, said to have skillfully ridden carp (gentlemen), as a courtesan.

This masterpiece depicts conversations between various courtesans and courtesans in four separate scenes, with detailed, sharp observations and clever, sharp, and humorous portrayals of the tricks, techniques, and emotions of men and women in entertainment and romance.

The illustrations are divided into “Shitsumo Te,” “Yasuite Te,” “Senuketa Te,” and “Shintetsu Te.” They vividly and humorously depict conversations in the bedrooms of courtesans of different ranks from the main and small shops of Yoshiwara, and their customers. Even those who have never been to Yoshiwara will feel as if they have learned about the tricks and tactics of Yoshiwara entertainment. This is a masterpiece of humorous humor, with a theme of pleasure quarters, making full use of Sankyoden’s experience.

keiseikai shijūhatte
Written and illustrated by Santo Kyoden
Published by Tsutaya Juzaburo and Koshodo
Year of Publication: 1790 (Kansei 2)
The Ukiyo-e Cafe’s collection features two originals from Koshodo. While most universities only have one copy, our store stocks two versions: one with two copies and one with one copy.

Laugh-out-loud! Yellow-covered bestseller: Ugly-cute Tsuyujiro aims to become a ladies’ man

"Edo Nama Eteki Kabayaki" is one of Sankyoden's masterpieces and was his biggest hit in his twenties. The Ukiyo-e Cafe always has original Edo period works on display.

The most famous illustration in the yellow cover novel is that of Tsuyajiro, the only son of Adakiya (a merchant).

He calls his pig nose a Kyoden nose. Kyoden was a playboy, but when drawing himself, he deliberately portrayed himself as ugly.

The protagonist is 19-year-old Tsuyajiro, the only son of Adakiya (a merchant) with a million-ryo (1 million-ryo) budget. As a young Edo master, he is a typical flirt, with a naturally strong desire for lustful approval and a shallow mind, typical of young men of the Edo period. He aspires to be as famous as the playboys and kabuki actors of Shinnai-bushi, who are popular with women in the pleasure quarters.

Though ugly, Tsuyajiro is also vain, and he plots to build a reputation as a playboy by inviting his bad friend, the playboy son of Kitasato Kinosuke, and the drummer doctor Warui Shian. He tattoos the name of a fictitious lover on his arm, pays a geisha to run into his house, and buys a prostitute and stages a farce of them running away. The maids at Tsuyujiro’s house, unaware that he is paying a prostitute to act, whisper behind his back, saying, “What a strange, eccentric girl to fall in love with such an ugly young master.” The story ends with a punchline that shows the limits and foolishness of play, and moralizes the “consequences of excessive play.”

Tsuyujiro wanted to be a playboy, but his extreme behavior caused trouble.

His comical, eccentric behavior and ugly, peony-like nose earned him the nicknames “Kyodenbana” and “Tsuyujirobana.” Due to the popularity of this work, the name Tsuyujiro became synonymous with a deluded man.

This work is considered one of the three great works of the kibyōshi (satirical illustrated literature of the Edo period). These three, along with “Edo Nama Enki Kabayaki” (Sankyōden), “Kaneka Sensei Eiga Yume” (Koigawa Harumachi), and “Gozen Shobaimono” (Sankyōden), were extremely popular.

These works reflect townspeople’s culture and social customs, and use humor and satire to entertainingly depict pleasure quarters culture. Reading them together will help you gain a deeper understanding of Edo culture.

“Edo Nama Uwaki Kabayaki”
Author: Santo Kyoden
Illustration: Kitao Masanobu
Publisher: Tsutaya Juzaburo and Koshodo
Year of Publication: 1785 (Tenmei 5). The Ukiyo-e Cafe’s collection is an original Koshodo copy. The title label reads “Edo Nama Uwaki Kabayaki” (Flirtatious Eggs), and the colophon differs from the first printing, suggesting this is the second printing.
Selling Price: Based on the going rate for yellow-covered books at the time, it is estimated to have cost around 3-4 bu of silver (approximately 200-400 mon).
It has been reprinted more than four times. From the third printing onwards, the title label changed to “Uwaki Kabayaki” (Flirtatious Eggs).

The first collaborative work between Tsutaju and Houseido Kisanji. A sophisticated and detailed humorous book full of old man jokes.

“Chijiki of the Prostitutes” marked Tsutaju and Kisanji’s first collaboration. Up until that point, he had only written the preface and postscript to “Meigetsu Yojo,” a pamphlet about the Shin Yoshiwara niwaka (a type of entertainment).

Kisanji was a samurai of the Akita domain who served as an Edo rusuiyaku (diplomat) and was therefore well-educated. He also frequently visited brothels using the domain’s funds. As Yoshiwara’s foremost expert, Kisanji was the perfect person to introduce the area. Making full use of this potential, he created “Chijiki of the Prostitutes” as a humorous book introducing Shin Yoshiwara, peppered with witty old man gags.

In the drama, Omi Toshinori repeatedly says, “How about it, well.” This is likely a foreshadowing of the play name “Dōdaro Maa” under which the book was produced.

The Ukiyo-e Cafe has a permanent exhibition of both the original Edo period “Shohi Chiriki” and a reproduction. The reproduction is also available for purchase.

Pun-filled playful nickname "Doudarou Maa Doudarou Maa" = Hosei-do Kisanji

[Story]

You might be wondering about the plot, but the initial setting is an area guide for Shin Yoshiwara, a fictional country called “Hokusenpu Yoshiwara Otsuki Honkoku.” The name “Hokusenpu Yoshiwara Otsuki Honkoku” itself is a pun. “Hokusenpu” refers to the prostitutes in Yoshiwara, located in Kitasato. The word “Otsuki Honkoku” was created by replacing “Hokusenpu” with “Moon,” the shadow of the sun, in contrast to the Great Japan. It was a pun easily understood by those of the time.

The pun begins in the preface. It begins with the playful nickname “Doudarou Maa.” The seal on the cover reads “Hiromete-kunna” (Don’t spread it). Both the writing and the design are packed with witty puns that will have you smiling. From the preface to the final postscript, the editing has been designed to make you want to search for puns in every nook and cranny.

"Map of Otsuki Hometown = Map of the Shin Yoshiwara Red-light District" is a map that depicts Shin Yoshiwara as an ocean. The place names are exquisite.

It’s a clever pun, but the content functions properly as a guidebook. The streets, town names, and brothels are likened to the ocean or groups of people in Otsuki Hometown, and the courtesans there are likened to scenic spots and springs, introducing each courtesan’s individuality. It also introduces the local products and restaurants sold by merchants. It’s a fun book that makes you imagine how well-matched Kisanji and Tsutaju must have been as a team.

Many Yoshiwara specialties lined the streets of Gojikendo.

[Prologue to the Geography of the Prostitutes] Source: National Book Database
[Title] Geography of the Prostitutes (Shohichiriki) Pun: Sho and Hichiriki (sho and hichiriki) sound the same.
[Author] Dodarou Maa (How about? Well?) Hosei-do Kizoji
[Publisher] Tsutaya Juzaburo
[Publication Year] 1777
The Ukiyo-e Cafe’s collection is the original from 1777.
A reprint produced in 1926 is available for sale.
[Specifications] Woodblock print, 17.3 x 11.6 cm, 60 pages total