Yaoya Oshichi: The Tragic Tale of Love and Fire in Edo
In the bustling, wood-built metropolis of 17th-century Edo (modern-day Tokyo), fires were so frequent they were poetically termed “The Flowers of Edo.” Yet, among the smoke and ash of history, one fire burns brighter in the cultural memory than all others. It is not remembered for the destruction of property, but for the destruction of a young heart. This is the story of Oshichi’s Burning (Oshichi no Hiaburi), a tragedy of teenage obsession that has haunted Japanese literature and theater for over three centuries.
Introduction
The story of Yaoya Oshichi (Oshichi the Greengrocer’s daughter) is one of Japan’s most famous tales of passionate, destructive love. Executed at the tender age of sixteen, Oshichi became a symbol of the reckless intensity of youth. Her story transcends mere historical fact, having been elevated into the realm of legend through Bunraku puppetry, Kabuki theater, and literature. For the modern traveler, understanding Oshichi offers a glimpse into the strict social codes of the Edo period and the fiery spirit that bubbled beneath its rigid surface.
Origins: The Great Fire of Tenna
To understand Oshichi, one must understand the environment of 1682. In December of that year, a massive conflagration known as the Great Fire of Tenna swept through the city. Edo was a city made of paper and wood, and fires were catastrophic events that often reshaped entire neighborhoods.
Oshichi was the daughter of a wealthy greengrocer named Tarobei, who lived in the Hongo neighborhood. When the fire destroyed their home, the family was forced to seek temporary refuge at a family temple, often cited as Enjo-ji (or sometimes Kichijo-ji, depending on the variation of the tale). It was amidst the chaos of displacement and the somber atmosphere of the temple that the seeds of tragedy were sown.
The Legend: Love and Arson
While taking shelter at the temple, the adolescent Oshichi met a young page (or temple acolyte) named Kichisaburo. In the close quarters of the evacuation, a passionate romance blossomed between the two. However, the romance was short-lived. Once Oshichi’s family rebuilt their home, they moved back, separating the young lovers.
Consumed by longing and unable to meet Kichisaburo due to the strict social constraints placed on young women, Oshichi’s mind turned to a dangerous logic. She reasoned that she met her lover because of a fire; therefore, if another fire occurred, she would be sent back to the temple and could be with him again.
On a windy night in early 1683, Oshichi attempted to set fire to her own house. Fortunately, the fire was discovered early and extinguished before it could turn into a city-wide disaster. However, arson was considered one of the gravest crimes in Edo, punishable by death.
The Tragedy of Age
Historical records and folklore often highlight a heartbreaking legal technicality. The magistrate sympathized with the young girl and asked her age. In the Edo legal system, children under 16 were often spared the death penalty. The magistrate reportedly tried to coax her into saying she was fifteen. However, Oshichi, wanting to be seen as an adult woman worthy of her love, or perhaps simply being honest to a fault, declared she was sixteen. Consequently, she was sentenced to be burned at the stake at the Suzugamori execution grounds.
Modern Culture and Legacy
Oshichi’s death shocked the city, and she was almost immediately immortalized in art. The most famous adaptation is by the master writer Ihara Saikaku in his 1686 work, Koshoku Gonin Onna (Five Women Who Loved Love).
In modern Japan, the cultural footprint of Oshichi remains deep:
- Kabuki and Bunraku: Plays such as Shochikubai Yushima no Kakegaku feature the character of Oshichi. The “Bell-Ringing Scene” (Nozaki-mura), where she climbs a fire tower to ring the alarm bell to open city gates for her lover, is an iconic piece of theater, though historically fictional.
- The Hinoeuma Superstition: Oshichi was believed to be born in the year of the Fire Horse (Hinoeuma), which occurs every 60 years (e.g., 1906, 1966). Superstition dictates that women born in these years are dangerous to men and headstrong. This belief was so prevalent that birth rates in Japan actually dropped significantly in 1966 due to parents fearing the stigma associated with Oshichi’s legacy.
Traveler’s Tips: Tracing Oshichi in Tokyo
For those wishing to pay respects to this tragic figure, there are specific sites in Tokyo (Bunkyo Ward) worth visiting:
- Enjo-ji Temple (Hongo): This temple is widely considered the location of the family’s grave. You can find a dedicated grave for Oshichi here (though it is technically a memorial tower). It is a quiet, contemplative spot in the middle of the city.
- Dai-Enjo-ji: Located near Todaimae Station, this temple also claims a connection to the legend and features a Kannon statue dedicated to her memory. It is famous for its connection to the “roasted sweet potato” history of the area, a somber irony considering the greengrocer connection.
- Suzugamori Execution Grounds: Located in Shinagawa, this was one of the two main execution sites of Edo. While grim, it is a significant historical site where Oshichi met her fate. A memorial stone stands there today.
Note: When visiting graves in Japan, it is respectful to pour water over the gravestone using the provided ladle and to bow silently. Photography of specific graves is sometimes frowned upon, so observe local signage.
Sources & Further Reading
For those interested in delving deeper into the history and literature of the Edo period, the following texts are essential:
- Primary Literary Source: Koshoku Gonin Onna (Five Women Who Loved Love) by Ihara Saikaku (1686). This contemporary account codified the story for future generations.
- Historical Records: While ancient texts like the Kojiki or Nihon Shoki deal with creation myths, for this era, one should look to the Tokugawa Jikki (The True Chronicle of the Tokugawa), which records the official history of the shogunate, including the fires and laws of the time.
- Theater: Yaoya Oshichi serves as a archetype in the Sewamono (domestic plays) genre of Kabuki.