灵感来源于四代鹤屋南北的《幽灵遗作 / 歌舞伎剧》《若子门松五万才》（死后新年舞）（1829年）。这部作品创作于文政十二年（1829年），被称为“伟大的南北”的“幽灵遗作”。剧作家在意识到自己即将去世时，为自己的葬礼创作了这部作品。虽然未作为商业剧目上演，但因在葬礼上分发给与会者或作为娱乐表演而成为传奇，是一部极为独特的作品。亮点包括：1. 死者复活：在守灵的中间，南北的尸体从棺材中升起，开始跳舞，将念经的僧侣视为他的喜剧搭档（才藏），呈现出一幅超现实而怪诞的画面。2. 葬礼讽刺：通过对话彻底讽刺了围绕死亡的“金钱”和“贪婪”，例如追悼佛教名号的价格、香火供奉和遗产争议。3. 告别舞：一段干脆而狂热的舞蹈，消除了感伤，体现了他的哲学：“只要邪恶存在，世界就永远不会结束。”Inspired by Tsuruya Nanboku IVThe Phantom Posthumous Masterpiece / Kabuki Play"Jakko Kadomatsu Go Manzai" (The Afterlife New Year's Dance) (1829)[History and Overview of the Play]Created in the 12th year of Bunsei (1829).Known as the"Phantom Posthumous Work" of Tsuruya Nanboku IV (Great Nanboku), written by the playwright himself for his own funeral upon realizing his approaching death.It was not performed as a commercial play but is legendary for being distributed to attendees at Nanboku's funeral or performed as entertainment, making it an extremely unique work.[Highlights: The Manzai of the Corpse and the Monk]1. Resurrection of the Dead: In the middle of the wake, Nanboku's corpse rises from the coffin and begins to dance, treating the chanting monk as his comedy partner (Saizo). A surreal and grotesque composition.2. Funeral Satire: Dialogue that thoroughly satirizes the"money" and"greed" surrounding death, such as prices for posthumous Buddhist names, incense offerings, and inheritance disputes.3. The Farewell Dance: A dry, frantic dance number that eliminates sentimentality, embodying his philosophy:"As long as evil exists, the world will never end."