University of Virginia Library

II. PART II

The reader, having perused thus far in
patience or in impatience, will probably want
to know what came of it all. Does the present
Noh, saved from the ashes of the revolution,
justify so minute an examination of its past?
Believing, as I do, that the Noh is a very great
art, I can heartily say that it does. I give here
several further specimens of the text or libretto.
The reader must remember that the words are
only one part of this art. The words are
fused with the music and with the ceremonial
dancing. One must read or "examine" these
texts "as if one were listening to music." One
must build out of their indefiniteness a definite
image. The plays are at their best, I think,
an image; that is to say, their unity lies in the
image—they are built up about it as the Greek
plays are built up about a single moral conviction.
The Greek plays are elaborate presentations
of some incident of a story well
known; so also the Japanese plays rely upon
a certain knowledge of past story or legend.

They present some more vivid hour or crisis.
The Greek plays are troubled and solved by
the gods; the Japanese are abounding in
ghosts and spirits. Often the spirit appears
first in some homely guise, as, in Catholic
legend, we find Christ appearing as a beggar.

The spirit seems often an old man or old
woman rapt in meditation. In Kumasaka we
come upon a simple recluse. The plot is as
follows:

The pilgrim priest is asked to pray for some
anonymous soul. His interlocutor's hut has
in it no shrine, no single picture of Buddha,
nothing but a spear and an iron mace. The
owner of the hut alludes to himself as "this
priest." His gospel is the very simple one of
protecting travellers from neighbouring bandits.

Suddenly both he and his hut disappear
(vide the comments of the chorus). The
pilgrim, however, having begun his prayer for
the unknown dead man, goes on with the
service.

He is rewarded. The second act opens with
the reappearance of the spirit in splendid array.
He is the spirit of Kumasaka, remembering
the glory of his days, meditating upon them,
upon his bowmen and deeds of arms. The
final passage is the Homeric presentation of

combat between him and the young boy,
Ushiwaka. But note here the punctilio. Kumasaka's
spirit returns to do justice to the
glory of Ushiwaka and to tell of his own defeat.
All this is symbolized in the dance climax of
the play, and is told out by the chorus.

KUMASAKA

A Play in two Acts, by Ujinobu, adopted
son of Motokiyo

Characters

A Priest.

First Shite, or Hero,

• the apparition of Kumasaka
  in the form of an old priest.

Second Shite,

• the apparition of Kumasaka in his
  true form.

Chorus.

• This chorus sometimes speaks what the
  chief characters are thinking, sometimes it
  describes or interprets the meaning of their
  movements.

Plot.—The ghost of Kumasaka makes reparation
for his brigandage by protecting the
country. He comes back to praise the bravery
of the young man who had killed him in single
combat.

Priest

Where shall I rest, wandering weary of the
world? I am a city-bred priest, I have not

seen the east counties, and I've a mind to go
there. Crossing the hills, I look on the lake
of Omi, on the woods of Awatsu. Going over
the long bridge at Seta, I rested a night at
Noji, and another at Shinohara, and at the dawn
I came to the green field, Awono in Miwo. I
now pass Akasaka at sunset.

Shite
(in the form of an old priest)

I could tell that priest a thing or two.

Priest

Do you mean me? What is it?

Shite

A certain man died on this day. I ask you
to pray for him.

Priest

All right; but whom shall I pray for?

Shite

I will not tell you his name, but his grave lies
in the green field beyond that tall pine tree.
He cannot enter the gates of Paradise, and so
I ask you to pray.

Priest

But I do not think it is right for me to pray
unless you tell me his name.

Shite

No, no; you can pray the prayer, Ho kai
shujo biodo ri aku; that would do.

Priest
(praying)

Unto all mortals let there be equal grace, to
pass from this life of agony by the gates of
death into law; into the peaceful kingdom.

Shite
(saying first a word or two)

If you pray for him,—

Chorus
(continuing the sentence)

—If you pray with the prayer of "Exeat"
he will be thankful, and you need not then
know his name. They say that prayer can
be heard for even the grass and the plants,
for even the sand and the soil here; and they
will surely hear it, if you pray for an unknown
man.

Shite

Will you come in? This is my cottage.

Priest

This is your house? Very well, I will hold
the service in your house; but I see no picture
of Buddha nor any wooden image in this
cottage—nothing but a long spear on one wall
and an iron stick in place of a priest's wand,
and many arrows. What are these for?

Shite
(thinking)

Yes, this priest is still in the first stage of
faith. (Aloud.)
As you see, there are many
villages here: Tarui, Awohaka, and Akasaka.
But the tall grass of Awo-no-gahara grows
round the roads between them, and the forest
is thick at Koyasu and Awohaka, and many
robbers come out under the rains. They
attack the baggage on horseback, and take the
clothing of maids and servants who pass here.
So I go out with his spear.

Priest

That's very fine, isn't it?

Chorus

You will think it very strange for a priest
to do this, but even Buddha has the sharp
sword of Mida, and Aizen Miowo has arrows,
and Tamon, taking his long spear, throws
down the evil spirits.

Shite

The deep love—

Chorus

—is excellent. Good feeling and keeping
order are much more excellent than the love
of Bosatsu. "I think of these matters and
know little of anything else. It is from my
own heart that I am lost, wandering. But if I
begin talking I shall keep on talking until dawn.
Go to bed, good father, I will sleep too."

He seemed to be going to his bedroom, but
suddenly his figure disappeared, and the cottage
became a field of grass. The priest passes the
night under the pine trees.

Priest

I cannot sleep out the night. Perhaps if
I held my service during the night under this
pine tree—

[He begins his service for the dead man.

PART SECOND

Second Shite

There are winds in the east and south; the
clouds are not calm in the west; and in the
north the wind of the dark evening blusters;
and under the shade of the mountain—

Chorus

—there is a rustling of boughs and leaves.

Second Shite

Perhaps there will be moonshine to-night,
but the clouds veil the sky; the moon will
nor break up their shadow. "Have at them!"
"Ho, there!" "Dash in!" That is the
way I would shout, calling and ordering my
men before and behind, my bowmen and
horsemen. I plundered men of their treasure,
that was my work in the world, and now I
must go on; it is sorry work for a spirit.

Priest

Are you Kumasaka Chohan? Tell me the
tale of your years.

Second Shite
(now known as Kumasaka)

There were great merchants in Sanjo, Yoshitsugu,
and Nobutaka; they collected treasure
each year; they sent rich goods up to Oku.
It was then I assailed their trains. Would you
know what men were with me?

Priest

Tell me the chief men; were they from
many a province?

Kumasaka

There was Kakusho of Kawachi, there were
the two brothers Suriharitaro; they have no
rivals in fencing.[1]

Priest

What chiefs came to you from the city?

Kumasaka

Emon of Sanjo, Kozari of Mibu.

Priest

In the fighting with torches and in mêlée—

Kumasaka

—they had no equals.

Priest

In northern Hakoku?

Kumasaka

Were Aso no Matsuwaka and Mikune no
Kuro.

Priest

In Kaga?

Kumasaka

No, Chohan was the head there. There
were seventy comrades who were very strong
and skilful.

Chorus

While Yoshitsugu was going along in the
fields and on the mountains, we set many
spies to take him.

Kumasaka

Let us say that he is come to the village of
Akasaka. This is the best place to attack him.
There are many ways to escape if we are
defeated, and he has invited many guests and
has had a great feast at the inn.

Priest

When the night was advanced the brothers
Yoshitsugu and Nobutaka fell asleep.

Kumasaka

But there was a small boy with keen eyes,
about sixteen or seventeen years old, and he
was looking through a little hole in the partition,
alert to the slightest noise.

Priest

He did not sleep even a wink.

Kumasaka

We did not know it was Ushiwaka.

Priest

It was fate.

Kumasaka

The hour had come.

Priest

Be quick!

Kumasaka

Have at them!

Chorus
(describing the original combat, now
symbolized in the dance)

At this word they rushed in, one after
another. They seized the torches; it seemed
as if gods could not face them. Ushiwaka
stood unafraid; he seized a small halberd and
fought like a lion in earnest, like a tiger rushing,
like a bird swooping. He fought so cleverly
that he felled the thirteen who opposed him;
many were wounded besides. They fled without
swords or arrows. Then Kumasaka said,
"Are you the devil? Is it a god who has
struck down these men with such ease? Perhaps
you are not a man. However, dead men
take no plunder, and I'd rather leave this
truck of Yoshitsugu's than my corpse." So
he took his long spear and was about to make
off—

Kumasaka

—But Kumasaka thought—

Chorus
(taking it up)

—What can he do, that young chap, if I ply
my secret arts freely? Be he god or devil, I
will grasp him and grind him. I will offer

his body as sacrifice to those whom he has
slain. So he drew back, and holding his long
spear against his side, he hid himself behind
the door and stared at the young lad. Ushiwaka
beheld him, and holding his bill at his
side, he crouched at a little distance. Kumasaka
waited likewise. They both waited, alertly;
then Kumasaka stepped forth swiftly with his
left foot, and struck out with the long spear.
It would have run through an iron wall.
Ushiwaka parried it lightly, swept it away,
left volted. Kumasaka followed and again
lunged out with the spear, and Ushiwaka
parried the spear-blade quite lightly. Then
Kumasaka turned the edge of his spear-blade
towards Ushiwaka and slashed at him, and
Ushiwaka leaped to the right. Kumasaka
lifted his spear and the two weapons were
twisted together. Ushiwaka drew back his
blade. Kumasaka swung with his spear. Ushiwaka
led up and stepped in shadow.

Kumasaka tried to find him, and Ushiwaka
slit through the back-chink of his armour;
this seemed the end of his course, and he was
wroth to be slain by such a young boy.

Kumasaka

Slowly the wound—

Chorus

—seemed to pierce; his heart failed; weakness
o'ercame him.

Kumasaka

At the foot of this pine tree—

Chorus

—he vanished like a dew.

And so saying, he disappeared among the
shades of the pine tree at Akasaka, and night
fell.

SHOJO

Waki

I am a man called Kofu in a village by
Yosu,[1] which is at the foot of Kane Kinzan in
China, and because of my filial deference I
dreamed a strange dream. And the dream
told me that if I would sell saké in the street
by Yosu I should be rich. I obeyed. Time
passed. I am rich. And this is the strange
thing about it: whenever I go to the market,
there's the same man comes to drink saké.
No matter how much he drinks, his face shows

no change. It is curious. When I asked his
name, he said, "Shojo." A shojo is a monkey.
I waited for him where the river runs out at
Jinyo, clipping chrysanthemum petals into the
saké. I waited for him before moon-rise.

Chorus

This is chrysanthemum water. Give me
the cup. I take it and look at a friend.

Hero

O saké!

Chorus

Saké is a word well in season. Saké is best
in autumn.

Hero

Though autumn winds blow—

Chorus

—I am not cold at all.

Hero

I will put cotton over—

Chorus

—the white chrysanthemum flowers

Hero

The guests will also see—

Chorus

—the moon and the stars hung out.

Hero

This place is by Jinyo.

Chorus

The feast is on the river.

Hero
(who is in reality Shojo)

Shojo will dance now.

Chorus

The thin leaves of ashi, the leaves of the
river reeds, are like flute-notes. The waves
are like little drums.

Hero

The voice sounds clear through the shore-winds.

Chorus

It is the sound of autumn.

Hero

You are welcome. I have made this jar
full of saké. Take it. It will never run dry.

Chorus

No, it will never be empty—the saké of
bamboo leaves; although you drink from
the lasting cup of the autumn, the autumn
evening remains ever the same.

The moon fades out of the river, and the
saké weighs down my blood.

And I am shaking and falling; I lie down
filled with wine, and I dream; and, awaking,
I find the saké still flowing from the jar of
Shojo, from the magical fountain.

TAMURA

Waki

Are you the flower-keeper?

Boy

I am a man who serves the "Jinnushi
Gongen." I always sweep in blossom season—
so you may call me the flower-keeper, or the
honorary servant; but, whatever name you
use, you should think of me as some one of
rank, though I am concealed in humble
appearance.

Waki

Yes, you look that. Will you tell me about
this temple?

Boy

This temple is called Seisuiji; it was
founded by Tamura Maro. In Kojimadera
of Yamato there was a priest named Kenshin.
He was always wishing to see the true light of
Kwannon. And one time he saw a golden
light floating on the Kotsu River. And he

was going toward it, when he met an old man
who said to him, "I am Gioye Koji, and you
must seek out a certain patron and put up a
great temple."

And the old man went off to the East, and
he was Kwannon. And the patron was Maro,
Sakanouye no Tamura Maro.

Chorus

In this pure water, Kwannon with a thousand
hands gives blessing. She blesses this land
and this people.

Waki

Well, I have met some one interesting.
Can you tell me of other places about here?

Boy

The peak to the south is Nakayama Sei-kanji.

Waki

And what is that temple to the northward
where they are ringing the nightfall bell?

Boy

That is the temple of Ashino-o. Look!
the moon is lifting itself over Mount Otoba,[1]
and lights the cherry flowers. You must look!

Waki

It is an hour outweighing much silver.

[The Boy and the Priest together recite
the Chinese poem.
[The is a break here in the notes. There
should follow a chorus about cherries
under the moon.

Chorus

Having seen these things with you, I know
you are out of the common. I wonder what
your name is.

Boy

If you want to discover my name, you must
watch what road I take. You must see to
what I return.

Chorus

We cannot know the far or near of his
route.

Boy

I go into the mountains.

Chorus

He said: "Watch my path." And he
went down in front of the Jinnushi Gongen
temple, and to Tamura-do. He opened the
door and went in.

II

Waki

I have watched all night under the cherries.
I do service beneath the full moon.

[He performs a service.

Hero
(in his second apparition, no longer the boy,
but Tamura Maro)

That is a very blessed scripture. Just because
you have droned it over, I am able to
come here and speak with the traveller. This
is the blessing of Kwannon.

Waki

How strange! A man appears, lit up by
the light of the flowers. What are you?

Tamura

To be open, I am none other than Sakano-Uye
Tamura Maro, out of the time of Heijo
Tenno. I conquered the eastern wild men,
beat down their evil spirit, and was an honest
servant to my Emperor by the grace of this
temple's Buddha.

[Here there follows a passage in which he
describes his battles.

Chorus

The Emperor bade me beat down the evil
spirits in Suzuka in Ise, and to set the capital
of that country in peace. I drew up my forces,
and then, before I set out, I came to this
Kwannon and prayed.

Tamura

And then a strange sign appeared.

Chorus

Having faith in the true smile of Kwannon,
he went swiftly to war, out past Osaka to the
forest Awadzu. He passed Ishiyamaji, and,
thinking it one of the gods of Kiyomidzu, he
prayed on the long bridge of Seta, as he was
come nigh to Ise.

Chorus
(changing from narrative of the journey
to description)

There the plum-trees were blossoming. All
the scene showed the favour of Kwannon and
the virtue of the Emperor.

Then there was a great noise of evil voices,
a shaking of mountains.

Tamura
(excitedly, and as if amid the original scene)

Hear ye the evil spirits! Once in the reign
of Tenshi, the evil spirit who served the bad
minister Chikata died, and Chikata fell. But
you are near to Suzukayama; you are easy
to kill.

Chorus

Look to the sea of Ise, on the pine-moor
of Anono the evil spirits rain their black clouds.
They pour down fires of iron; they move
like ten thousand footmen; they are piled
like the mountains.

Tamura

Look forth on the carnage!

Chorus

The battle! Senju Kwannon pours lights
on our banner. Her lights fly about in the
air. She holds in her thousand hands the bow
of "Great Mercy." Hers are the arrows of
wisdom. Fly forth her thousand arrows. They
harry the spirits; they fall in a swirl of hail.
The spirits are dead from her rain.

How Great is the Mercy of Kwannon![3]

FOREWORD TO TSUNEMASA

The Noh, especially the Noh of spirits, abounds
in dramatic situations, perhaps too subtle and
fragile for our western stage, but none the less
intensely dramatic. Kumasaka is martial despite
the touch of Buddhism in the opening
scene, where the spirit is atoning for his past
violence.

Tsunemasa is gentle and melancholy. It is
all at high tension, but it is a psychological
tension, the tension of the séance. The excitement
and triumph are the nervous excitement
and triumph of a successful ritual. The spirit
is invoked and appears.

The parallels with Western spiritist doctrines
are more than interesting. Note the spirit's
uncertainty as to his own success in appearing.
The priest wonders if he really saw anything.
The spirit affirms that "The body was there
if you saw it."

As to the quality of poetry in this work:
there is the favoured youth, soon slain; the

uneasy blood-stained and thoughtless spirit;
there are the lines about the caged stork crying
at sunset, and they are as clear as Dante's.

"Era già l' ora che volge il disio."

TSUNEMASA

Priest

I am Sodzu Giokei, keeper of the temple of
Ninnaji. Tajima no Kami Tsunemasa, of the
house of Taira, was loved by the Emperor
when he was a boy, but he was killed in the
old days at the battle of the West Seas. And
this is the Seizan lute that the Emperor gave
him before that fighting. I offer this lute to
his spirit in place of libation; I do the right
service before him.

[They perform a service to the spirit of
Tsunemasa.

Priest

Although it is midnight I see the form of
a man, a faint form, in the light there. If
you are spirit, who are you?

Spirit

I am the ghost of Tsunemasa. Your service
has brought me.

Priest

Is it the ghost of Tsunemasa? I perceive
no form, but a voice.

Spirit

It is the faint sound alone that remains.

Priest

O! But I saw the form, really.

Spirit

It is there if you see it.

Priest

I can see.

Spirit

Are you sure that you see it, really?

Priest

O, do I, or do I not see you?

Chorus

Changeful Tsunemasa, full of the universal
unstillness, looked back upon the world. His
voice was heard there, a voice without form.
None might see him, but he looked out from
his phantom, a dream that gazed on our world.

Priest

It is strange! Tsunemasa! The figure
was there and is gone, only the thin sound
remains. The film of a dream, perhaps! It
was a reward for this service.

Spirit

When I was young I went into the court.
I had a look at life then. I had high favour.
I was given the Emperor's biwa.[1] That is
the very lute you have there. It is the lute
called "Seizan." I had it when I walked
through the world.

Chorus

It is the lute that he had in this world, but
now he will play Buddha's music.

Priest

Bring out what stringed lutes you possess,
and follow his music.

Spirit

And I will lead you unseen.

[He plays.

Priest

Midnight is come; we will play the "midnight-play,"
Yabanraku.

Spirit

The clear sky is become overclouded; the
rain walks with heavier feet.

Priest

They shake the grass and the trees.

Spirit

It was not the rain's feet. Look yonder.

Chorus

A moon hangs clear on the pine-bough.
The wind rustles as if flurried with rain. It
is an hour of magic. The bass strings are
something like rain; the small strings talk
like a whisper. The deep string is a wind
voice of autumn; the third and the fourth
strings are like the crying stork in her cage,
when she thinks of her young birds toward
nightfall. Let the cocks leave off their crowing.
Let no one announce the dawn.

Spirit

A flute's voice has moved the clouds of
Shushinrei. And the phœnix come out from
the cloud; they descend with their playing.
Pitiful, marvellous music! I have come down
to the world. I have resumed my old playing.
And I was happy here. All that is soon over.

Priest

Now I can see him again, the figure I saw
here; can it be Tsunemasa?

Spirit

It's a sorry face that I make here. Put
down the lights if you see me.

Chorus

The sorrow of the heart is a spreading
around of quick fires. The flames are turned
to thick rain. He slew by the sword and was
slain. The red wave of blood rose in fire, and
now he burns with that flame. He bade us
put out the lights; he flew as a summer moth.