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Arthur Waley. The Nō Plays of Japan
The Nō Plays of Japan
Table of Contents
INTRODUCTION
(1) THE NŌ STAGE
(2) THE PERFORMERS
(a) The Actors
(b) The Chorus
(c) The Musicians
COSTUME
PROPERTIES
DANCING AND ACTING
THE PLAYS
ORIGINS
YŪGEN
PATRONS
IMITATION (Monomane)
APPARITIONS
CHILD PLAYS
RESTRAINT
NOTE ON BUDDHISM
ATSUMORI, IKUTA, AND TSUNEMASA
ATSUMORI
IKUTA
TSUNEMASA
CHAPTER II
KUMASAKA
EBOSHI-ORI
BENKEI ON THE BRIDGE (HASHI-BENKEI)
CHAPTER III
KAGEKIYO
HACHI NO KI
NOTE ON KOMACHI
SOTOBA KOMACHI
CHAPTER IV
Note on Ukai
UKAI (THE CORMORANT-FISHER)
AYA NO TSUZUMI (THE DAMASK DRUM)
Note on Aoi No Uye
AOI NO UYE (PRINCESS HOLLYHOCK)
CHAPTER V
Note on Kantan
KANTAN
THE HŌKA PRIESTS (HŌKAZŌ)
Note on Hagoromo
HAGOROMO
CHAPTER VI
Note on Tanikō and Ikeniye
TANIKŌ (THE VALLEY-HURLING)
IKENIYE (THE POOL-SACRIFICE)
HATSUYUKI (EARLY SNOW)
HAKU RAKUTEN
INTRODUCTION
ACT II
CHAPTER VII. SUMMARIES
HANAKATAMI (THE FLOWER BASKET)
OMINAMESHI
MATSUKAZE
SHUNKWAN
AMA (THE FISHER-GIRL)
TAKE NO YUKI (SNOW ON THE BAMBOOS)
TORI-OI
YUYA
TANGO-MONOGURUI
IKKAKU SENNIN (THE ONE-HORNED RISHI)
YAMAUBA (THE DAME OF THE MOUNTAINS)
HOTOKE NO HARA
MARI (THE FOOTBALL)
TŌRU
MAI-GURUMA[213] (THE DANCE WAGGONS)
CHAPTER VIII. KYŌGEN
THE BIRD-CATCHER IN HELL[215] (ESASHI JŪŌ)
SHORT BIBLIOGRAPHY
EUROPEAN
JAPANESE
APPENDIX I
MODERN NŌ LETTERS FROM JAPAN
APPENDIX II
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