 | Komachi on the Gravepost (Sotoba Komachi: a fourth-category play) |  |
Sotoba Komachi
SHIDAI
Sidemand and Sideman's Second enter. They stand facing each other down front. After opening verse, Sideman faces front.
SHIDAI
on-w
yet conceal one
shallow these hills
yet conceal one
very deep the heart!
NANORI
off-sp
I am a monk from Mount Koya. I am just now on my way up to Miyako.
SASHI
off-w
is long gone;
the Future Buddha comes not yet
into the world.
Sideman and Side Second
face to face again
into dream time between.
What then shall we take
for the Real?
Human bodies,
seldom won,
are ours;
the Tathagata's
own Buddha-Teaching,
hard to find,
we've found,
and this it is shall be
seed of awakening
vows the heart
with purpose single
black robes we've put on:
AGEUTA
on-w
that's before birth
but know the self
that's before birth
and parents there are none
to cherish,
and with no parents,
no child either
to detain the heart.
The ten thousand leagues we go
on moors we lie
and lodge in mountains,
yes, these for us
are the true home
yes, these for us
are the true home.
TSUKI-ZERIFU
off-sp
Hurrying along that way, we've come to Abeno in the land of Tsu.
Sideman and Sideman's Second retire to Sideman's spot. Stagehand places a stool at center, to serve as the gravepost.
SHU-NO-SHIDAI
Doer enters, wearing the rōjo, or Old Woman, mask. She is leaning on a staff and wears a broad, conical hat called kasa. She stops once on bridgeway as though to rest, then comes as far as main spot, where she faces back of stage.
SHIDAI
on-w
yet no stream stirs
pondweed adrift am I
yet no stream stirs
to woo me:
wherefore I grieve.
SASHI
off-w
In the old days
my pride waxed very great.
My hair, a black
kingfisher-sheened,
swayed supple, like willow fronds
trailing down spring winds.
My warbler tongue's sweet trill
was lovelier far
than fine bush clover flowers
gorged with dew,
at each whisper poised to drop;
now even fishwives shrink from me,
all see my shame.
Joyless moons and suns have piled on me
till I've turned hag,
one hundred years old.
SAGEUTA
on-w
I fear men's eyes
lest 'It's she!' they
safe at nightfall
AGEUTA
on-w
I sally forth
with the moon
I sally forth
past Cloudloft
the Hundredfold!
The sentinel
on Inmost Peak
himself
would never
one so pitiful
tree-hid, alas!
Autumn Hill,
the moon's own Katsura
river boats
shooting shallows,
and the rowers,
who might they be,
and the rowers,
who might they be?
TSUKI-ZERIFU
off-sp
I'm so exhausted I think I'll sit here on this rotten timber and rest.
She takes her hat in her hand and sits on the stool. Sideman and Sideman's Second stand up.
MONDO
off-sp
Oho, the sun's gone down, we'd better hurry. Look! The thing this beggar here is sitting on is a stūpa gravepost, there's no doubt about it. I'll enlighten her and get her to move.
Side Second
Right you are.
Sideman's Second goes to mark post, passing behind Doer, thus leaving Sideman at Sideman's spot.
MONDO
off-sp
You there! You beggar! Isn't what you're sitting on a stūpa gravepost, the very image of the Buddha-body, to which be reverence? Get off it and go rest somewhere else.
Doer
The very image of the Buddha-body, you say, most worthy of reverence. . . But I see no inscription to suggest that, no graven shapes. To me, it looks like just a rotten timber.
KAKEAI
off-w*
s
the tree may be
deep in the hills,
yet once in bloom
a cherry's not to be hid'—
graven as the Buddha-body,
how should it make
no impression?
Doer
s
buried timber,
but if at heart
I've still blossoms,
why should they not do
for offerings?
Come,
what makes you say
it's the Buddha-body?
Side Second
stūpa that it is,
is Kongōsatta briefly manifest,
working his Samaya Shapes,
his Vow-in-Action.
Doer
sp
what are they?
Sideman
s
Earth, water, fire, air, and space.
Doer
the Five Wheels,
make man's own body;
how is it
you see a difference?
Side Second
but heart and virtue differ.
Doer
sp
stūpa's virtue?
Sideman
s
'Once spy a stūpa and forever leave the Three Evil Ways.'
Doer
how am I the lesser?
Side Second
If True Wisdom Mind is yours, why don't you hate the sorry world?
Doer
one's mere appearance that might
hate the world!
No, it's the heart!
Sideman
and therefore knew not the
Buddha-body.
Doer
sp
and therefore approached this gravepost.
Side Second
s
Then why did you sit down and pay no homage?
Here it's lying, this gravepost—what's wrong with my resting too?
Sideman
right links.
Doer
sp
that lift one high.
Side Second
s
Daiba's evil,
Doer
mercy of Kannon,
Sideman
Handoku's dullness,
Doer
Monju's wisdom,
Side Second
what's called Evil
Doer
is Good itself;
Sideman
what's called Torments,
Doer
Perfect Wisdom,
Side Second
and Perfect Wisdom's
Doer
no tree planted:
Sideman
the Clear Mirror
Doer
stands on no stand.
AGEUTA
on-w
'Never has one thing been,'
Buddha and Beings coincide.
to save dull, average man,
it has been the thrust
of the deep Vows;
therefore,
'Back links it is
that lift one high':
when thus kindly
she reminds them,
an awakened outcaste!'
they cry, the monks,
and doing homage thrice.
But then,
Doer
I give you this jesting song:
SHIMO-NO-EI
off-w
in Paradise most grave
post it without
quite free of every blame.
Doer suddenly stands, turns her back on Sideman, and moves several steps toward main spot.
UTA
on-w
and your sermons!
You tiresome monks
and your sermons!
*
off-sp
Come then! Who are you? Please, say your name!
Doer
turning to Sideman
I'm ashamed; and yet I'll tell you my name.
She comes back to center and sits facing front.
NANORI-GURI
off-w
I am what is left of Ono no Komachi, daughter of Ono no Yoshizane, the governor of Dewa.
SASHI
off-w
Komachi
was years past
a peerless beauty:
blossom, her face shone,
moon-laurel brows
gleamed delicate,
white-powdered was she
gauze and damask robes
o'erflowed her Laurel Hall.
Doer
and Chinese verse;
Chorus
from Heaven's Stream
moon on my sleeve lay light,
a lovely sight indeed.
AGEUTA
on-w
sidelocks once fair
clamp to skin in inky runs,
moth brows once lilting
lose hue of far hills?
SAGEUTA
on-w
wan these hairs
hankerings do I
no sooner dawn
breaks than shame
at my looks
covers me.
As she speaks these last words, Doer hides her face with hat, then stands and goes to main spot.
RONGI
on-w
hung round your neck,
what is it you keep?
Doer
may be my last,
against tomorrow's hunger
it's parched beans
and millet, mixed,
I carry in my pouch.
Chorus
you've slung behind?
Doer
Stained, filthy clothes.
Chorus
on your arm?
Doer
white and black.
Now she glances at the hat she holds. Below, she lowers her head as though to hide, and then at mention of sleeves, glances at her sleeves.
Ragged cloak,
Doer
ragged hat,
Chorus
to hide the face;
Doer
snow, rain, and dew?
Chorus
I'd wipe from sight
but have no sleeves!
beg from passersby;
and when refused,
rage and crazed wits seize me. My voice changes, ghastly. . .
She drops her staff, thrusts hat out again, and presses toward Sideman.
MONDO
off
str
Come on you, gimme something, you monk, come on!
Sideman
sp
What's this?
Doer
Got to be going to Komachi's place. Come on!
Sideman
You're Komachi! What is this nonsense you're talking?
Doer faces front. Below, at 'billets-doux,' glances hither and yon; at 'shower,' steps backwards; at 'reward,' lowers head as though containing agitation.
Doer
she's too much the lover:
billets-doux here,
proposals there
from skies empty
comfort even
gives she none,
not one answer.
she's touched
one hundred years.
Oh how I love her,
how I love her!
Sideman
sp
'How I love her,' you say; then who has possessed you?
turning to Sideman
Among the throng whose hearts were set on Komachi,
turning front
w
Fourth Rank of Deepgrass,
Shii no Shōshō's
UTA
on-w
thus manifold
I'm bound for her shaft rest.
Doer gazes toward bridgeway, the direction of the west; at 'moon's along,' turns front again; at 'gate guards,' goes to main spot, then withdraws to stagehand spot.
AGEUTA
on-w
Nightfall
What time of day?
Nightfall;
the moon's by me
down the road
gate watchmen stand
but they'll not stop me!
Come, I'm off!
MONO-GI-ASHIRAI
Doer slips the outer garment, the mizugoromo, from her shoulders, puts on an eboshi court hat, and picks up a fan. She then comes out to main spot; glances at skirts and stamps beat; at 'wind-crease,' points to hat with fan; then moves toward mark post, drapes left sleeve over head and half hides face with fan; then at 'down my road,' turns left up to drums; at 'nights of rain,' faces front and gazes up into sky; at 'eaves,' comes down front, sweeps gaze around over head; at 'I go and come,' walks a few steps then returns to place; at 'one night,' stands facing front and counts on fingers of left hand; at 'Vigil,' turns right up to drums, then immediately comes down front; at 'notch,' stamps several beats; at 'ninety-ninth,' holds left hand out, gazes at little finger which has not yet counted a night.
UTA
on-w
I lift high
spotless white skirts
I lift high,
Chorus
the tall court hat,
hunting cloak sleeves
pull about me,
shrink from prying eyes
I go by moon,
go in blackness,
nights of rain,
storm nights,
leaf showers,
deep the snow,
*
off-w
drip quick drip quick
Chorus
and back again
one night, two nights, three nights and four,
seven, eight nights,
nine nights attend
the Harvest Vigil Feast
I cannot,
all alone
cock-crow I never miss,
each dawn
notch the shaft-rest,
bent on going
the full hundred nights,
and this
the ninety-ninth—
Doer steps backwards to center.
My eyes dim!
Doer presses fan to breast, drops to one knee, then sits; at 'he of Deepgrass,' lowers head, absorbed.
cried he in agony
and one night short died,
he of Deepgrass,
the Captain.
His hate it is
possesses me
and so turns me mad!
Now she becomes perfectly calm and peaceful. At 'sand,' she holds out fan as though beckoning; at 'burnish,' turns right up to main spot, then holding fan like an offering, advances toward front; at 'start' folds fan and joins palms; then turns to side and remains motionless.
KIRI
on-w
my strong hope
for life to come
is very real:
sand I'll pile
into stūpas,
burnish me skin
of purest gold
and, offering
the Buddha flowers,
set out on the road
to awakening
set out on the road
to awakening.
| Komachi on the Gravepost (Sotoba Komachi: a fourth-category play) | |