 | Komachi at the Gateway Temple (Sekidera Komachi: a woman play or a miscellaneous play) |  |
SHIDAI
Sideman and Sideman's Second enter, preceded by Child. They line up down front, with Sideman and Sideman's Second facing each other.SHIDAI
on-str
now fall's rejoined
the waiting ends
now fall's rejoined
the Stars: hasten their feast!
NANORI
off-sp
facing front
You have before you the head priest of Gateway Temple in the land of
Ōmi. Today being the seventh day of the seventh month, we're all
going into the garden of the Lecture Hall, to celebrate Seventh Night. But
now, an old woman has put together a hut under this mountain, and I
understand she's a master of the Way of Song; so I'm taking the young
people with me to hear what she has to say.
SASHI
off-str
face to face
the chilling winds
and wilting hairs
converge at start of fall,'
and evening of
the seventh day
so soon has come.
Sideman
facing front
we've offerings:
strings, pipes tuned
to modes and scales
many-hued
words urge we forth
for Blessed Isles'
AGEUTA
on-str
face to face
threads streaming bright
Way our prayer
threads streaming bright
oh, weave brocade
loom the flags of
pampas grasses,
flowers too
and autumn weeds
dew-spangled sing,
so gently plays
the pining wind,
offering
this wondrous night
offering
this wondrous night!
TSUKI-ZERIFU
off-sp
facing front
You wait here a moment, while I inquire within the hut.
All go to sit near Sideman's spot. Stage hand removes cover from the hut, revealing Doer seated inside. She wears the rōjo, or Old Woman, mask.
SASHI
off-w
though grass wraps, nights, hide not my flesh I have nothing more.
Flowers, as rains go by, lose their scarlet youth;
willows, as breezes lure them, let the green fronds droop.
Man is not young again: at last he's old,
and though spring come with warblers'
hundred carolings, no fall goes back
to yesteryear.
Oh the old days,
I miss them so!
I miss them so!
Sideman stands, and has Child stand also.
MONDO
off-w*
sp
Old lady, I beg your pardon, but I'd like to speak with you.
Doer
Who is it?
Sideman
I'm from Gateway Temple. The children of the temple are studying poetry, and they've been asking about the old lady. So I've brought them along to ask you how to compose songs, and to listen to whatever you have to say.
Doer
no longer shall
plumed pampas grass
burst into fruit. Just make the heart your seed, and dip the flowers of your speech in hue and fragrance. If you do, then how should you fail to grasp true style?
How lovely that all this should appeal to you young people!
Sideman
One that everyone praises right off is the 'Naniwa Harbor' song, and I understand it's to be considered the first model for learners. Isn't that so?
Doer
Very definitely. Song, you see, began in the Age of Gods, but the count of letters then kept changing, and likely enough the heart of the matter was difficult to make out. Now we're in the Age of Men; and it's because the poem celebrates a happy Imperial accession that people make much of the 'Naniwa Harbor' song.
Sideman
And the 'Mount Asaka' song is a very happy poem too, since it soothed the heart of a king!
Doer
Yes, you understand perfectly. With these two songs as mother and father
Sideman
s
for all learners,
Doer
sp
of all degrees,
Sideman
s
rustic folk
of furthest lands,
Doer
like ourselves,
Sideman
sweet delight do
Doer
Sea of Ōmi
AGEUTA
on-w
Sands of the shore
may reach an end
sands of the shore
may reach an end;
words of song, though,
never shall.
Greenwillow fronds
flow on
pine needles
do not fall and die.
Know then that the seed's the heart!
And though times change,
though all things pass,
so long as words
of these songs last,
so long shall
the bird prints run
so long shall
the bird prints run.
MONDO
off-w*
sp
this night shall come:
little spider
with her web
weaves me a sign!' Is that a woman's song?
Doer
That's a song by Princess Sotōri, of the old days. She was the consort of Emperor Ingyō. In form, at least, it's her style I followed.
Sideman
Well now, you say you followed Princess Sotōri's style? Ono no Komachi herself, who's so much heard of in recent years,
Doer lowers her head.pondweed root-cut and drifting;
should some stream
stir to woo me now
I'd go, I know!' There's a song by Komachi!
Doer
lifting head
s
Yes, Ōe no Koreaki had had a change of heart, and I was very
downcast.
sp
Then Fun'ya no Yasuhide, on his way down as Governor of Mikawa, suggested
I come with him. 'Do please find solace in my country dwelling,' said he,
turning to Sideman
and that was why I made the song.
SAGEUTA
on-w
through the years,
but listening now,
tears fall for old
brought to mind
alas, with sorrow!
Doer checks tears.
MONDO
off-w*
sp
How strange! I hear you say that it's you who made the song, 'So forlorn I
grieve' and your statement that you followed Princess Sotōri's style
sounds like Komachi too. In fact, as I consider the age. . . You, old
lady, say you're a hundred; then even if Komachi were much changed, she
might well still be alive. No, there's no longer any doubt: you yourself
are what is left of Komachi!
s
I tell you, hide it no longer!
Doer
No, hearing 'Komachi' I'm ashamed
She lifts her head, turns to Sideman.'Hues all unseen. . .' though then I sang,
AGEUTA
on-w
a worldly one's heart flower. . .'
ah, now seen! I'm ashamed!
pondweed root-cut and drifting, should some stream
stir to woo me:
even now I'd go, I know!'
I'm ashamed!
Doer lifts her head once more. Sideman and Child go back to sit at Sideman's spot.
KURI
off-weak
'screen them I do,
yet from these sleeves spill shining drops,
of eyes that see thee not the tears,' reigning
memories sow seeds
of passion grasses'
bloom now wilted
I, until the end,
shall hold—but why?—
with shining dews
to days long since gone.
SASHI
off-weak
I lie me down
and he appears!'
Chorus
it suits me ill;
so long they've come,
the moons and years
I send off, greet,
as spring and fall
with dews trip in
and pass with frost,
for leaves of grass change,
insect cries
have died away.
Doer
is at its term,
KUSE
on-weak
one glorious day.
'The living die,
the dead gain ever more
in this my life
alas, how long
am I bound to mourn?'
That too I sang,
oh how long
the ivy vine,
flowers falling,
leaves all dropping,
lingers in dewdrop life!
I miss them so!
Each time I feel
one with the past
I so recall, old things capture me,
till now, again,
with those first years
of old age.
Most piteous my plight!
In the old days
the very room
I lodged in
a single night
was decked with tortoiseshell;
the fence hung with
golden blossoms;
doorways dripped rock crystal;
Imperial Car,
court carriages
in radiant silks
of proudest hues
smooth-spread
pillows enhanced
the lovers' chamber
where, within,
I took my ease
on flower-brocaded cushions.
my jeweled couch!
Doer
bell tolls
Chorus
these old ears hear
but learn nothing.
Winds sweep down
'All born must die,'
they say;
oh, if I knew!
When petals fly
and leaves fall, then,
each time,
for my delight,
here at my wattled door
stain the brush, and
salt sea tangle
trace out leaves of speech
soon withered quite.
Not strong because
a woman's songs . . .
in my old age
I've grown weak,
till all that's left
is sorrow.
MONDO
off-sp
to Sideman's Second
You know, it's getting late for the feast of Seventh Night. Do invite the
old lady to come along with us.
Side Second
By all means.
Sideman's Second stands and moves a few steps toward Doer.I beg your pardon, old lady, but what harm could it do? Do please come and have a look at the celebration we're offering for Seventh Night.
Doer
Oh no, an old woman shouldn't impose that way. I wouldn't think of it.
Sideman's Second goes back to his place and sits. Sideman stands.
Sideman
No, no, old lady, we'll be glad to have you.
He goes up to Doer and touches her. She picks up her staff.Don't worry! Just come with us!
Doer stands, aided by Sideman, and emerges from the hut. At 'Komachi,' she goes to main spot while Sideman retires to Sideman's spot.
AGEUTA
on-w
weave streamer wands
to offer up
how many years
gone shadow sere
Ono no Komachi's touched
one hundred,
overhead
Heaven's own congress of stars
with cloud walkers
quite at ease
now hempen-clad,
poor woman!
Oh painful fate!
A sight not to be borne!
Sideman opens his fan, holds it like a sake ladle, and faces Child. As Chorus sings on, Child opens his fan and holds it like a cup. He receives the liquor from Sideman, then goes before Doer and pours for her. At 'streamer wands,' he stands and begins to dance: at 'round cups go,' moves to mark post, then sweeps left up to drums; at 'oh lovely,' comes to center, opens.
UTA
on-w
for Seventh Night
ah yes, this night
for Seventh Night
offerings we have
some, streamer wands
twirling round
and round cups go
while moon snow lights
on dancing children's sleeves,
oh lovely scene!
EI
off-w
with which we feast the Stars
Doer
live on, headed hence
Child returns to Sideman's spot, does a leftright, and sits. Doer, as though unconsciously, beats time with fan.
Chorus
Ten Thousand Years!
*
off-w*
sp
they were just now,
the dancing children's sleeves!
Long ago
at Harvest Vigil
the girls of the Five Measure Dance
twirled their sleeves
yes, five times it was;
for Seventh Night
should be turned seven times.
When a madman runs, they say, the sane run after him. Now, lured by the dancing children's sleeves,
sthe madman's going to run.
With the aid of her staff she stands, then taps beat once.
WAKA
off-w
One hundred years
MAI
She begins to dance, very slowly. Some way into the dance she lays down her staff, to pick it up again near the end. She stops at last at main spot and, as text resumes, strikes fan high pose.
WAKA
off-w
snug in a flower
now dances the butterfly.
NORIJI
onori-w
Oh touching sight!
The old tree bough
blossoms
Doer
move how forgotten
Chorus
skirts keep feeble step,
Doer
a wandering wave's
Chorus
scarves toss round
but no sleeves these
to turn back the old days!
Doer
off
I miss it so!
She sits at center, staff held over left shoulder, and hides tears. At 'all the while,' she lifts her head; then gazes up to the eastern sky; then listens to temple bell and to cockcrow; at 'caught me,' lowers head.
NORIJI
onori-w
the short night
of early fall
begins to break,
Gateway Temple's bell,
Doer
cocks a-crowing
Chorus
caught me, ah,
Doer
the Forest of Vergogne
She stands, leaning on her staff.never will hide me now.
She bows her head toward Sideman, then makes her way toward hut.I'm going back,
says she,
leans on her staff
and totters home
to the straw hut
whence she came;
is she called now,
the ruin of Komachi
the ruin of Komachi.
While music is still playing, she comes out of hut and stands motionless.
| Komachi at the Gateway Temple (Sekidera Komachi: a woman play or a miscellaneous play) | |