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Title: Plays of Old Japan: The 'No'
Translator: Marie Carmichael Stopes
Joji Sakurai
Release date: November 2, 2013 [eBook #44092]
Most recently updated: October 23, 2024
Language: English
Credits: Produced by Henry Flower and the Online Distributed
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*** START OF THE PROJECT GUTENBERG EBOOK PLAYS OF OLD
JAPAN: THE 'NO' ***
61.
The Table ofContents was produced by the transcriber.
62.
Table of Contents
PREFACEv
LIST OF ILLUSTRATIONS vii
TO THE READER 1
THE MAIDEN’S TOMB 35
KAGEKIYO 53
TAMURA 70
THE SUMIDA RIVER 76
ENGLISH BIBLIOGRAPHY OF THE NŌ.
EPOCHS OF CHINESEAND JAPANESE ART.
By Ernest F. Fenollosa. In two Vols. Crown 4to.
Illustrated. 36s. net.
A HISTORY OF JAPANESE COLOUR-PRINTS.
By W. von Seidlitz. Illustrated in Colour and Black
and White. One Vol. Crown 4to. 25s. net.
JAPANESE PLAYS AND PLAYFELLOWS. By
Osman Edwards. With twelve Coloured Plates by
Japanese Artists. One Vol. Demy 8vo. 10s. net.
KAKEMONA: Japanese Sketches. By A. Herbage
Edwards. One Vol. Crown 8vo. 7s. 6d. net.
A HISTORY OF JAPANESE LITERATURE. By
W. G. Aston. One Vol. Large Crown 8vo. 6s.
IN JAPAN: Pilgrimages to the Shrines of Art.
By Gaston Migeon, translated by Florence Simmonds.
One Vol. Crown 8vo. Illustrated. 6s. net.
THE JAPANESE DANCE. By M. A. Hincks. One
Vol. Crown 8vo. Illustrated. 2s. 6d. net.
LONDON: WILLIAM HEINEMANN
65.
AN ACTOR OFTHE NŌ IN FULL COSTUME
TADANORI
This plate, taken from a Japanese
coloured woodcut, illustrates well the
voluminous nature of the mediæval
ceremonial garments. The figure is
that of an ancient warrior of the Taira
clan, to which Kagekiyo belonged (see
p. 53), who was noted also for the high
quality of his poetry. He composed a
66.
special verse, whichhe fastened in an
arrow that he always carried in his
quiver, and that proved to be the
means of identification when he was
found by his enemies, dead in the field
of battle. In the illustration one may
particularly note the mask, with the
eyebrows painted so high on the
forehead that they are above the fillet
band. The feet are not bare, but are
covered with the white tabi, or cotton
boots with soft soles and a separate
division for the big toe, in which the
Nō dancers always perform their parts.
67.
PLAYS OF OLDJAPAN
THE ‘NŌ’
BY
MARIE C. STOPES
D.Sc., Ph.D., F.L.S.
TOGETHER WITH TRANSLATIONS OF THE DRAMAS BY M. C.
STOPES
AND
PROFESSOR JOJI SAKURAI
D.Sc., LL.D.
WITH A PREFACE BY HIS EXCELLENCY
BARON KATO
THE JAPANESE AMBASSADOR
ILLUSTRATED
Copyright and alltranslation and dramatic right reserved by Marie C.
Stopes
70.
PREFACE
By His Excellencythe Japanese Ambassador
The utai does not appeal to the uneducated, and for that reason its
devotees have practically been confined to the gentle and
aristocratic classes. In the days before the educational system of
Japan was established on Western lines, boys of the Samurai class in
many parts of the country were taught to chant the utai in their
schools as a part of their curriculum, the object being to ennoble
their character by imbuing them with the spirit of the olden times,
and also to provide for them a healthy means of recreation in their
manhood. Along with many other institutions, it declined in favour in
consequence of the great social and political upheaval which ushered
in the era of Meiji; and for some time afterwards the people were
too much occupied with various material aspects of life to find any
leisure for the cultivation of the art, so much so that its professional
exponents, meeting with no public support, had to give up the
forlorn attempt to continue their task and to look elsewhere for a
means of earning their livelihood.
With the consolidation of the new régime many old things took a
new lease of life, the utai being one of them. Not only has the utai
revived, but those who ought to know say that never in the long
history of its existence has it been so extensively patronised as it is
to-day. Patrons of the art are by no means confined to the
aristocratic classes, albeit it is not so popular as the ordinary
theatrical play, and never could be from the nature of the thing.
This book will, therefore, well repay study on the part of any one
desirous of knowing and appreciating the working of the Japanese
mind, and the author and her colleague are rendering a good service
71.
to the publicof the West by initiating them into the subject. As the
author frankly admits, to translate the utai into a European language
is a most difficult task, and, in my opinion, it is a well-nigh
impossible one. The meaning of the original may be conveyed—its
spirit to a certain extent—but never the peculiarities of the original
language, on which the beauty of the utai mainly rests. It was very
brave of Dr. Marie Stopes and Prof. Sakurai to undertake what I
should deem an impossible task, and I am glad to be able to extend
to them my sincere congratulations on their remarkable
achievement. They have succeeded in their work to the best extent
any one can hope to succeed, and in my opinion have placed
Western students of Japanese art and literature under a debt of
gratitude to them.
Takaaki Kato.
Japanese Embassy, London.
November 1912.
72.
LIST OF ILLUSTRATIONS
Toface page
TADANORI Frontispiece
VIEW OF THE NŌ STAGE 10
A COUNTRY POETESS 14
MIIDERA 16
SŌSHIARI-GOMACHI 24
THE MAIDEN’S TOMB 38
SUMIDAGAWA 76
73.
TO THE READER
Theirpoetry is the expressed essence of the Japanese. It represents
them as the Victory of Samothrace represents the people of Greece,
as the scent represents the rose. Chamberlain says, “The one
original product of the Japanese mind is the native poetry”—their
painting, their porcelain, their ceremonials, are modifications of
Chinese classics, but their poetry is their very own. Among the
greatest and most characteristic treasures of the native literature,
the Japanese rank their ancient “lyric dramas,” the Nō. As Synge and
the Irish poets speak for the Irish people the things that matter most
to them and that yet go all unexpressed in their outward life, in the
same sense, only to a greater extent, do the Nō dramas represent
the old spirit of Japan.
In Japanese the texts of the Nō dramas, all of which were written
before the sixteenth century, are collected in a great work, the
Yokyoku Tsukai, in which various editions give as many as two
hundred and thirty-five to two hundred and sixty-two utai, as the
librettos of the Nō are called. Yet these treasures are practically
unknown to the reading public of the West, notwithstanding the
interest that has been taken in “things Japanese.” Scholars certainly
have paid them some attention, and a few utai have been rendered
into English, but in most cases these translations are such as appeal
primarily to scholars, and do not reach the wider public.
Chamberlain’s Classical Poetry of the Japanese, in which some of the
utai find a place, is perhaps the only exception to the general
statement that no rendering of any of these plays has yet been
made which is calculated to win those readers who do not delve in
the Transactions of learned societies nor read transliterated texts in
74.
weighty volumes, butwho, nevertheless, delight in the great
literatures of the world.
One of the reasons for this is certainly the extreme remoteness of
the subject from everything to which we are accustomed, and the
difficulty of translating into our own the obscure language of these
mediæval texts.
All students of Japanese are agreed about the excessive difficulty of
making any rendering from the utai which combines fidelity to the
original with lucidity in a European language.
Yet these old plays are unique, exquisite, individual, and so full of
charm that it is a great loss to the Western world that they should
be entirely removed from our ken by being hedged in and shut away
from us by the difficulties of language. It is clearly some one’s duty
to translate, not merely the words of these plays, but their meaning
and spirit, so that the Western public may have partial access at
least to the source that delights, and has delighted for centuries, the
best minds of our Allies in the East. No translation can ever convey
more than a fraction of the power, beauty, and individual
characteristics of the original, but it is my hope that there may be
found between these covers something of the delicacy and charm of
the Nō, some hint of their peculiar flavour and effect. If this
consummation is in any single case achieved by this book, it will be,
I fancy, only after the whole of it has been read and laid down;
when a faint spirit of the Nō may take shape in the reader’s mind.
Mountains blue in the distance before which we stand enthralled are
composed of grey rough stone and broken screes when viewed at
nearer quarters—yet we enjoy not less the illusory blue. The words
of a stirring poem that wafts us into a fairy land of dreams are each
one commonplace enough, and each can be reduced to its elements,
a, b, c, d, e,—twenty-six of them, which can be ranged in a straight
line.
And so it is with the Nō. They must not be too much analysed and
inquired into. Their language is simple, almost to baldness in places,
75.
it is true,but their simple elements create a wonderland of illusion.
In Japanese they have the power to make the spirit soar into the
borders of the enchanted regions of romance; and when acted the
plays make one ache with Weltschmerz in a way that shows that
their place is among the great things of our world, elemental in their
simplicity. Then it must not be forgotten that the text of the drama
as presented is accompanied by music, and is chanted by highly
trained actors in a beautiful setting. Who would think of judging
Wagner from the texts of his librettos alone, and of ignoring his
power as a scene creator and a musician? The texts of the Nō are
largely prosy, if you will. Mr. Sansom recently censured me, and with
me the leading Japanese authorities on the subject, for our
appreciation of the poetry of the Nō. He would have us believe that
the steady popularity of these plays for six hundred years among the
leading men of the country, from priests and poets to princes and
warriors, is due to over-estimation, and that they are, after all,
mostly prose of no high quality. In a language so widely diverging
from our own in its construction and mode of thought as Japanese,
the details of the literary style and composition are beyond reach of
my judgment. As the Japanese for so long have been consistent in
their admiration of the literary construction of the Nō, I am content
in that matter to accept their verdict. But of the atmosphere and
general effect of the plays I can judge for myself, and I find them
among the supremely great things in world-literature. That Mr.
Sansom does not, depends on his own taste in the matter. I have, in
these modern days of unshackled opinion, heard people openly
announce that they saw nothing in Shakespeare! I fancy that if we
could translate literally into the English language the song of the
nightingale to its mate, it would be found to be largely composed of
mundane affairs and prosy gossip about its neighbours, the weather
and the marauding school-boy. But is it to us any the less romantic
and glorious in association? There is a focal distance for every work
of art, and if we choose to overstep it and go and rub our noses
against the canvas of supreme genius, we will only find smeary paint
and an unpleasant odour. So, acknowledging the prosy elements in
the texts of the Nō I have attempted to render, I present them in the
76.
hope that therewill be some readers who will see through the
shrouding veils of a foreign language something of the features of
the eternal loveliness of the original. My great regret is the
imperfections of my handling of these delicate fantasies. But with
the exceptional knowledge and gifts of my collaborator in the
translations, Prof. Sakurai, the standard of detailed accuracy has
been kept up to a point which will, I trust, make these translations
not entirely unworthy of a scholar’s perusal (but see p. 32);
nevertheless, the reader whom my heart desires is not one to take
too close an inspection of each detail, but one who will catch the
spirit of the whole. None of the four plays that follow have been
translated by any one else,[1] so far as I can discover; so that, as
they break new ground for it, the public will perhaps be lenient and
sympathetic towards these efforts.
Concerning the Place the Nō takes in Japan to-
day
In Japan to-day there still lingers much of the old aristocratic scorn
of the common theatre, but the theatres which are dedicated to the
performance of the Nō have no such stigma attached to them.
Indeed, these performances are almost entirely supported by the
gentle and aristocratic classes. The interest of intellectual men in
these plays is not even satisfied with on-looking, and many of the
leading men of the day in Tokio—lawyers, university professors,
statesmen and aristocrats—study the chants and songs and give
private recitals of them. A few even undertake the arduous training
necessary to act a complete part, including the “dancing,” and then
the gentlemen are proud to appear with distinguished professionals.
The only comparable enthusiasm in our country is that of the
Shakespeare societies; but even to act, and act well, a part in a
Shakespeare play requires an amount of application trivial in
comparison with that necessary completely to master a rôle in one
77.
of the Nō.For in “singing” the utai not only is every minute inflection
of the voice prescribed and regulated according to the severest
rules, but every movement of the body, every step and movement
even of the toes or little fingers in the “dance” that accompanies it,
is most strictly governed by an iron tradition, and the secret of some
of the parts is only in the hands of a few masters.
Mr. Sansom quotes, in an unsympathetic spirit, the opinion of Mr.
Tanaka Shohei, but as this opinion represents in substance that of a
number of the leading Japanese who interest themselves in the
subject, I think it may very well be given as an expression of current
opinion of the Nō: “From every point of view it is one of the pre-
eminent arts of the world. It is the flower of the Yamato stock. Every
art reflects the spirit of a given people at a given time, and,
remembering this, we must hold it remarkable that the affections of
our people should be retained by an art which arose six hundred
years ago. In the West there is no art with such a pedigree. This
shows that the Nō represents the national spirit, and is complete in
every respect.”
A Japanese professor, writing to me, says, “A Nō drama is always
very simple in its plot, and it is chiefly its peculiar poetical
construction and ring which appeal so much to our emotion and give
the charm it possesses.” Another opinion is quoted by Mr. Osman
Edwards: “The words (of the Nō) are gorgeous, splendid and even
magnificent as are the costumes.”
The charm of the Nō is a cumulative one, and its power of conveying
much meaning in simple action is largely augmented by the
suggestiveness of the interwoven allusions to the classical poems
partly quoted or suggested in the words of the texts. Almost every
word carries more than its face value, and has been enriched by
centuries of usage in innumerable poetical and traditional
connections.
Concerning the past History of the Nō
78.
The Nō, asthey are now preserved, date principally from the
fourteenth and early fifteenth centuries, and all of them are prior to
the sixteenth century. Their development took place under the
Ashikaga Shogunate, particularly in the reign of the Shogun
Yoshimitsu (1368-1394), when they soon became exceedingly
successful among the nobles. They are to a large extent
compounded from much older elements which existed in a more
incoherent form prior to the fourteenth century; but they may be
described as crystallising and taking their distinctive form under the
hands of Kiyotsugu, who lived from 1355 to 1406. It is of great
interest to note how closely the dates of our own Chaucer (1340-
1400) correspond with those of the great Japanese master. What
world-phase brought two such men to the front at the same time in
the two island empires, all unknown to each other? Kiyotsugu was
the founder of the Nō proper, and one of his pieces is given on p. 39.
It is certain that he did not suddenly evolve this type of drama, but
took the elements that were to hand and fused them together with
the flux of his personal genius. Chief among the material available
were the Kagura or pantomime dances which were performed at
Shinto festivals on temporary wooden platforms. Direct descendants
of these, nearly in their original form, have lingered on till the
present day. I have seen performances on the rough temporary
platforms, where the actors were gaudily but cheaply decked and
where the crowded audience was almost entirely composed of the
common people who stood semi-scornful for a few moments, or
were detained for a long time while passing on their daily business.
The antiquity of such performances can be imagined from the fact
that in the Kojiki, which was written in 712 a.d., they were described
as being ancient and their origin was associated with the sun
goddess. The mythical story of their origin is one of the well-known
tales of Japan. The sun goddess, Amaterasu, was offended and
retired to a cave, withdrawing her luminous beauty from the world.
As may be imagined, this was very inconvenient for every one,
including the rest of the gods, who in their distress assembled on
the dry bed of the River of Heaven. (This is the Milky Way, and to
one who knows the mountain rivers of Japan it gives a very telling
79.
little touch, forthe dry bed of a Japanese river is a broad curve of
round white stones.) They endeavoured in many ways to lure the
sun goddess out of her cave, and at last they invented a dance and
performed it on the top of an inverted empty tub, which echoed
when the dancer stamped. This excited her curiosity, and the
goddess was successfully drawn out of her hiding-place, the light of
her radiance once more blessed the earth, and all was right again
with gods and men. The stamping on the hollow tub is still
suggested in the “dancing” of the Nō, where the actor raises his foot
and stamps once or twice with force enough to make the specially
prepared wooden floor of the stage echo with a characteristic sound.
It is quite probable that the actual words of the utai (librettos) of the
Nō were partly, if not entirely, written by Buddhist monks, and
Kiyotsugu was only responsible for bringing the whole together and
stage managing and stereotyping the plays.
Following Kiyotsugu, who died in 1406, was his son Motokiyo (one of
whose plays will be found on p. 56), who lived from 1373-1455. As
well as adding to the number of the actual plays (as many as ninety-
three are attributed to him) he greatly improved the music. By the
time of his nephew some of the several different schools of Nō
interpreters, which are still in existence, had sprung up.
The ruling Shoguns paid great attention to the Nō. Kiyotsugu the
founder was taken by the Shogun into his immediate service and
was even given the rank of a small daimio. Both Hideoshi and
Iyeyasu, two of the greatest men in Japanese history, were not only
fond of witnessing the plays, but it is reported that they actually
took part in them among the actors.
Concerning the Presentation of the Nō
A single Nō play is not a lengthy performance, the average time for
its complete presentation being merely one hour. But a performance
of Nō at a theatre generally lasts a whole day (except at special
80.
short performances, mostlyarranged in connection with festivities),
because half-a-dozen pieces are on the programme, and between
each is given one of the “mad-words,” or Hiogen, which are short,
ludicrous farces, and which serve to relieve the tension of the higher,
and generally tragic pieces.
The Theatre
The theatres, which are specially built for the Nō performances, are
smaller than the common theatres. The stage is a square platform,
generally measuring about eighteen feet, which stands towards the
middle, so that the audience sit on three sides of it. This stage has
its own beautifully curved roof, which is separated from the roof over
the audience by a slight gap, and is reminiscent of the time when
the Nō were performed on the outdoor wooden platforms while the
audience stood round in rain or shine. On the stage itself are two
pillars of smooth wood, which support its roof (see diagram facing p.
10). The stage is horizontal and is raised a few feet above the
ground; it is made of very smooth and peculiarly resonant boarding,
which is of special importance in the “dancing,” in the course of
which the actor has to stamp at intervals with his shoeless feet and
yet to make a loud, though deadened sound. Let us not forget the
inverted tub and the sun goddess. This feature of the dancing is not
to be despised, for its effectiveness is notable. By the kindness of
the Secretary of the Royal Society of Literature I am allowed to
reproduce my plan of the Nō stage[2] from their Transactions, so I
am tempted to quote also a paragraph describing it. “Leading to the
stage is a gallery nine feet wide, along which the actors pass very
slowly on their way from the green-room to the stage, and pause at
each of the three pine trees stationed along it. A curtain shuts the
end of the gallery from the green-room. All the woodwork is
unpainted and unstained, though very highly polished, and there is
neither scenery nor appliances to break the harmony. The three
actual pine trees and a flat painted pine on the wall at the back of
81.
the stage areall the ornament there is.” The wood-cut facing p. 10 is
an illustration of this stage taken from a Japanese print. It
represents an “undress” recital, but shows well the build of the stage
itself. The pine tree which is painted on the bare boards at the back
is not realistic, but is much conventionalised, with solid emerald
green masses of foliage and a twisted trunk. It is like those trees
which are seen in symbolic pictures and on ancient ceremonial
embroideries such as are used at weddings and at the New Year
time. The pine tree, and all it has come to mean to the Japanese as
a symbol, is closely associated with the Nō. Deeply interwoven in the
national sentiment is the play Takasago, which is the story of the
faithful spirits of the pine tree and is perhaps the most important
and most beloved of all the Nō.
82.
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