theater
jasonz1
7.3.pdf
MEDIEVAL
JAPAN Heiankyo = Kyoto
Edo = Tokyo
0 CJ
Fig 1 Some important locations in medieval Japan
THE TRADITIONAL THEATRE OF JAPAN Kyogen, Noh, Kabuki, and Puppetry
John Wesley Harris
;911,.1;,1;r-l The Edwi~ Kf ellen Press
Lewiston-Queenston-Larnpeter
Library of Congress Cataloging-in-Publication Data
Harris, John Wesley. The traditional theatre of Japan : kyogen, noh, kabuki and puppetry/ John Wesley Harris.
p. cm. Includes bibliographical references and index. ISBN 0-7734-5798-4 I. Performing arts--Japan--History. l. Title.
PN292 I .H366 2006 79 I .0952--dc22
2006041952
hors serie.
A CIP catalog record for this book is available from the British Library.
Copyright © 2006 John Wesley Harris
All rights reserved. For information contact
The Edwin Mellen Press Box 450
Lewiston, New York USA 14092-0450
The Edwin Mellen Press Box 67
Queenston, Ontario CANADA LOS !LO
The Edwin Mellen Press, Ltd. Lampeter, Ceredigion, Wales
UNITED KINGDOM SA48 SL T
Printed in the United States of America
CHAPTER6
The nob in action - the description of a goban
It seems appropriate to round out our survey of the noh by describing the five
plays of a goban, giving some sense of how the pieces work and how, in Buddhist
terms, they give the programme a universal scope and significance. We will
consider an imaginary programme, consisting of The Queen Mother of the West,
Kanehira, The Imperial Visit to Ohara, The Bird-scaring Boat and Taniko (or The
Valley Rite).1 The movements of the actors will be described in some detail to give
the reader a better impression of how the plays would look in action.
The 'god' play - The Queen Mother of the West (Seiobo)
The first play of the proposed goban is of Chinese origin like many pieces in the
'god' category. The Queen Mother of the West was a pre-Buddhist Chinese deity
called Hsi Wang Mu (pronounced 'Seiobo' by the Japanese) who was in charge of
the rewards and punishments that were awarded to men by heaven. In her original
form her appearance was demonic, with a panther's tail and dog's teeth, but in the
legend represented here she appears to the Emperor Mu of China as a beautiful
young girl and instead of heralding calamity she brings him a gin - a flower from
the peach trees of immortality which grow in her heavenly garden. This celestial
peach, which flowers only once in three thousand years, symbolises truly-
deserved fame which will last for many generations. Having assumed her most
regal form and made her presentation to the Emperor, the Queen then re-ascends
to heaven.
116
That is the total action of the piece, which therefore - like most god plays - depends mainly upon its theatrical qualities, which are seen in the goddess's dance, and the 'benevolent' mood created by the situation and the poetic imagery.
The piece employs a low platform, placed in the waki position, which has a roof above it supported on four slender pillars rising from its comers. This represents a royal palace and the fact that the sides and front are not covered in any way indicates the extensive lateral space that such a palace would normally possess - a smaller building or hut would be represented as more narrow and upright and sometimes enclosed, with walls, and possibly also a door, that are woven from wattles.
An Official, played by one of the company's kyogen actors, appears to announce the Emperor, emphasising his wisdom and worthiness, which is so marked that 'the wind as it blows does not sound among the trees, nor do the people lock their doors.' The wind is used extensively in Japanese poetry to imply feeling or emotion, so the implication is that the people have no complaints to make about their ruler and feel completely safe. The official also explains that the Emperor once travelled to Vulture Peak in India, where he received two holy verses from the hands of Buddha himself. This ensured his good fortune and the obedience of all his subjects.
The Emperor (waki) now makes a processional entrance down the hashigakari, followed by two Ministers (tsure), and they all proceed to the 'palace' structure, which the Emperor enters, sitting upon the platform, while his Ministers sit on the stage floor to his right and slightly upstage of him. When he is seated one of the Ministers praises him, comparing him to the 'vast and plentiful' sea and the radiant sun, and his officials and ministers to the innumerable stars that cluster around the Pole Star - all 'fortunate' images.
The Queen Mother (shite) now appears on the hashigakari, with an attendant preceding her. They are both dressed as young female courtiers, wear simple masks, and carry sprays of peach blossom over their shoulders. The Queen remains beside the 'heavenly' pine near the entry curtain, to establish her real
I 17
nature, while her attendant advances to the 'earthly' pine near the shite pillar.
Then, alluding to a well-known poem, they proclaim in unison that the bl~ssoms
of the peach and the plum are mute but people still flock to see them, meaning that
the nobles (peach) and commoners (plum) mingle quietly and harmoniously
together and this attracts people to the Emperor's kingdom. They then both
advance, the attendant to centre stage and the Queen to the shite pillar.
The Queen next proclaims that the wonderful flower of Buddha's Law has
blossomed in the kingdom, as a result of the Emperor's compassion, and the
peach-tree of immortality has burst into flower, implying the fame that inevitably
attaches itself to such an extremely rare event. Together she and her attendant
declare their intention of presenting a peach of immortality to the Emperor who
they liken to a wild horse travelling vast distances over high mountains. They then
change places and, from the centre stage, the Queen extends her spray of peach
flowers towards the Emperor. This is followed by a brief passage of dialogue
between the two of them, when he questions her and she identifies the peach, and
her intention of presenting it to him, but does not say who she is.
She then returns to the shite pillar and hands her spray of peach blossoms to
a stage attendant who advances from where he has been kneeling at the back of the
stage. When she reaches the pillar, the Emperor suddenly recognises her true
nature: 'How strange! Before our very eyes a heavenly lady appears.' She tells
him not to be surprised and making allusion to another famous poem proclaims
that his mercy reaches 'far above the clouds, where moonlight glittering in the dew
seems to take shelter upon our sleeve.' The moon, which represents the beauty of
an individual, particularly in the eyes of their lover, is used here to describe the
glory of Buddha and the moonlight implies the illumination of Buddha's Law,
while the dew is used to represent the very brief experience of jijimuge, the 'unified' vision of the world as a net of jewels where every jewel is reflected in every other, and the reference to the sleeve personalises the experience. She is saying that because of the Emperor's compassion and mercy it is briefly possible to experience a vision of the essential unity of all things, the supreme expression
118
of tathata (things as they are). The chorus, speaking for her, reiterates this image
with an allusion to yet another poem: 'a fading thing is the flower of the heart of
man in this world ... ', which at one level means that the jijimuge experience sadly
does not last long, because no human experience lasts long, but also indirectly
means that the impact of poetry or drama itself (the heart's flower) does not last
long either. The chorus then proclaims her true nature on her behalf, and contrasts
her immortality with man's evanescence.
This practice of the chorus picking up the shite's speech and completing it is very common in noh. Sometimes, though not here, it has the effect of implying
something that is thought rather than spoken. Sometimes it seems to imply a
change of tone, as here where Seiobo is reflecting on the sadly brief life of man in comparison with her own immortality. Sometimes it is used to enable the shite to
concentrate solely upon his dance, without having to be distracted by the words.
Sometimes it seems to be used simply for variety.
At the end of the chorus's chant the Queen spreads her arms wide towards
the stage front, and the chorus indicates that she is rising up to heaven. She turns
her back, thus becoming technically 'invisible', and makes a smooth, swift exit up
the hashigakari.
The Official who opened the play enters again and tells the audience what
has happened in simpler language, a typical function of a kyogen actor.
The musicians' contribution now becomes more insistent and the Emperor
and his Minister declare in unison that they can hear heavenly music. The Queen
reappears at the entry curtain. She is now wearing an impressive god mask and her
'heavenly phoenix crown' decorated with hawk's feathers. She is dressed in
purple and scarlet and has a sword hanging at her waist. Her attendant follows her
carrying a single peach upon a tray. The attendant waits at the entry curtain, while
the Queen advances to the first pine near the stage. The chorus welcomes her. She
moves to the naming place beside the shite pillar and her attendant advances to the
first pine. The chorus declares that it sees peacocks, phoenixes and birds of
paradise dancing around her in the air. They describe the Queen's movements as
I 19
she turns to face the Emperor and indicates her emblems of power, her crown and
sword. She then goes to the shite pillar, takes the tray with the peach upon it from
her attendant, crosses the stage on the diagonal, kneels, and places it on the
platform before the Emperor. The chorus proclaim that the Emperor 'takes the
drinking cup of flowers and at once becomes intoxicated'. Since intoxication is an
experience which briefly detaches the spirit from its earthly preoccupations, the
implication is that he finally manages to release those last elements of his ego
which are still tying him down to a life of earthly power and 'importance'.
The Queen returns to the shite pillar and then begins to dance, while the
chorus chants to accompany her, invoking the image of a drinking game where the
guests float their goblets down a winding stream, seeing which goes the furthest.
The image of a stream, or of any moving water, tends to mean time passing, or the
progress of somebody's life in time and in this case life is passing in an ideal way while everybody is still 'drunk' or spiritually elevated. The chorus also describe
the visionary birds dancing around the Queen. The dance ends with the Queen
stamping once at the shite pillar as the chorus proclaims that she and the birds
together have soared up into the sky and become lost to sight. She turns her back,
becoming 'invisible' again, and quickly exits up the hashigakari.
It can be seen from this description that the piece is grave and stately at first
but moves at a steadily faster tempo, although it is never fast, and that the poetic
imagery is both allusive, for the benefit of the more informed members of the
audience, and also reinforces the general message that intuitive perception (prajna) of the universal relationship of all things leads inevitably to compassion (karuna) and merciful action, from which other people benefit - in the case of the Emperor,
a whole nation. It confirms that such merciful action is worthy of being
remembered by using the image of the peach of immortality, and it ends with the
spiritual elevation of the Emperor and the rise of the Queen to heaven, which both
have an inspiring effect. So the piece carries a message of good fortune and reward
for goodness which sets the programme off on a positive footing. It is a typical
play of blessing.
120
The 'warrior' play - Kanehira
The second play draws its story from the Heike Saga (Heike Monogatarty. Its
protagonist, Kanehira, was chief-of-staff to Lord Kiso Yoshinaka, a famous Genji
(Minamoto) general, who had the misfortune to offend Yoshitsune, his former
ally, and become involved in a fatal con!lict with him.
The play opens like so many 'noh of ghosts' with a priest (the waki)
coming to the naming place beside the shite pillar. He declares that he intends to
seek out Lord Kiso's grave in order to pray for him. He briefly describes his
journey to the beach at Yabase, where the death occurred, and ends up kneeling at
the usual waki position. A stage assistant then brings on a simple open-work
structure representing a boat and places it near the shite pillar and a boatman (the shite) enters carrying a bamboo pole and wearing the mask of a healthy, keen-eyed
old man. The boat has one bundle of brushwood attached to it, symbolically
representing its whole cargo. The boatman declares that he is personally carrying
the load of many years of fruitless labour, which are like the brushwood piled high
in his boat, and that his heart is consumed with the flames of longing - for this is
the ghost of Kanehira, though he never identifies himself. The priest asks to be
ferried across the river and, with a quotation from the Lotus Sutra comparing a
traveller finding a ferry at the proper place with a person meeting the
compassionate Buddha in a moment of need, the boatman takes him aboard and he
enters the boat structure and kneels at the front of it.
A long michiyuki or stage journey now ensues, although the two figures do
not physically move, apart from the priest asking questions about the places they
are passing and the boatman poling with his bamboo and answering. Since the
traveller is a priest, all of the places he asks about are famous as the sites of
temples or on account of religious observances and this gives both of them reason
to comment upon the fact that, since all living creatures equally possess Buddha
nature, they can all hope to achieve salvation. At the end of the journey, the
chorus take up the boatman's thoughts, comparing the Buddha's law of perfect
121
harmony with the cloudless moon in the sky and speaking of the mountain cherries of Awazu forest, whose blossoms have fallen but which are now bearing fruit, suggesting that Kanehira is beginning to reflect upon the true meaning of his earthly life. The priest disembarks and returns to his kneeling position near the waki pillar. The boatman exits up the hashigakari, the stage attendant removes the boat structure, and down the hashigakari comes a kyogen actor representing the missing ferryman, also carrying a pole over his shoulder.
After a brief exchange in which the ferryman tells the priest he cannot possibly have just crossed the river because he, the official ferryman, never brought him over, the priest asks him for an account of how Lord Kiso and Kanehira died - this being the first time that Kanehira has been mentioned. The ferryman gives a clear account in simple Japanese. Lord Kiso had defeated the Heike in the north and then vaingloriously marched upon the capital Kyoto, only to learn that more than sixty thousand troops were coming from Kamakura (the Shogun's capital) to intercept him because of his arrogance, led by his former friend Yoshitsune and General Noriyori. He promptly divided his own force between himself and Kanehira and set them to defend two widely distant bridges that would be key points in the coming battle, in each case destroying the bridge, thus making the crossings particularly dangerous because the rivers were in spate. Yoshitsune also divided his far superior force between the two points, opposing Kiso ,,himself and sending Noriyori to oppose Kanehira. Despite the difficult conditions both of the attacking armies managed to cross the rivers and defeat the defenders. Kiso and Kanehira fled, Kiso regretting that Kanehira, whom he loved deeply, was so far away at his probable moment of death. However, to his great delight, the two retreating forces met and the two leaders decided to make a last heroic stand together. As the battle inevitably turned against them, Kanehira told Kiso to make his way to a nearby pine grove where he could take his life with honour, while Kanehira held his enemies at bay. However, sadly, on the way Kiso was killed by one of the enemy and, when he heard this, Kanehira took his own life. The priest thanks the ferryman for his account and says he will now pray for
i
l
122
the souls of the two dead warriors. He tells how he was brought over the river by
a mysterious boatman who vanished after setting him down on the other shore. 'I
think that was Kanehira's ghost,' says the ferryman, 'perhaps you should pray
for him most.'
The priest now declares his intention of praying and begins to rub his rosary
with the circular forward 'winding' motions of the hands related to this action.
The ghost of Kanehira enters down the hashigakari and takes up position at the
shite pillar. He is dressed in magnificent robes, wearing the strong, commanding
mask of a warrior in his prime and bearing a long sword. His first spoken thought
is of naked blades smashing bones, of eyes being gouged out, and voices shouting
like the din to be heard at the crossroads of Hell. The priest asks him who he is
and he tells him not to be a fool - he is obviously Kanehira and yet, he says, the
priest has already seen a truer image of him in the boatman who ferried him over
the river with the brushwood. In other words the self-glorying warrior is gradually
being replaced by the penitent. He prays that his boat (his life) may become a
vessel of Buddha's Law and ultimately carry him to the distant shore (nirvana).
The chorus reflects on how quickly men come and go and compares them to 'dreams, fantasies, bubbles, shadows.' Kanehira moves to sit centre stage upon a camp stool provided by a stage attendant.
He now gives his account of the last battle, which differs in detail from the ferryman's account and is in more emotional verse form. He tells of the exchange between Kiso and himself when he bade him to seek out the grove of pine trees and take his life honourably. Kiso was unwilling to go 'I fled the enemy only because I hoped to be with you,' he said. But Kanehira would not listen, driving him away by telling him what a disgrace it would be to die at an enemy's hand. He recalls the mist, the biting wind, the scudding clouds, the darkening sky. He tells how Lord Kiso, uncertain of the way, plunged his horse into a quagmire and sank, how he drew his sword to take his own life but lingeringly looked back towards where his beloved Kanehira was holding the enemy at bay, and how that moment of delay was his death, for he was transfixed through the head by an enemy arrow.
123
At this point Kanehira is moved to stand up by the emotion of his tale and
begs the priest to pray for Lord Kiso before praying for himself. The priest asks
how he himself died. He describes how he was obsessed with the desire to be with
his lord at the moment of his death, but nonetheless still fought on. He begins to
mime and dance out what happened. He tells how he heard a cry from the enemy
ranks that Lord Kiso had been slain and, seeing that there was nothing left to hope
for, prepared to take his own life. With a roar he made his last great 'name-calling'
- 'I am Imai no Shiro Kanehira, a retainer since birth of the house of Lord Kiso.'
Then hewing his way through the enemy ranks he drove them down to the beach,
killing men to left and right of him amidst the surf. Finally he cried out 'Now I will
show you how a man should take his life,' and, placing the point of his sword in
his mouth, he fell upon it. Here the shite drops his sword and stamps with his foot
to show that the ghost of Kanehira has disappeared and the chorus ends the play
by commenting on what an astounding death it was that he died.
It is clear, despite all his longing, that the spirit of Kanehira is still very far
from salvation. He still takes joy in his military prowess, he has not yet purged
himself of his 'attachment' to his Lord, or his despair at the dishonourable death
he suffered - in fact his sense of duty (giri) has become the main obstacle to his
salvation. He is like Lord Kiso himself, fatally looking back at the moment when
he should be acting; he cannot yet let go. Yet Buddha assures us that all spirits will
finally ~_chieve salvation and through 're-living' the events and feelings surrounding
his death over and over again, the earthbound spirit will at last come to realise that
the selfish concepts of honour and duty are worthless in the perspective of
eternity and that he is not primarily a warrior but Buddha. This will clearly be a
long and slow process. His 'true form' as he suggests is the boatman for ever
ferrying brushwood over the river but never being permitted to land on the 'other
shore' of enlightenment: his life was spiritually impoverished, like the poorest of
the poor who spend their time gathering worthless brushwood: what is more he
spends his time ferrying this useless load from one place to another, just as he
spent his life (the boat) in the realm of time (the river) carrying his useless concept
124
of honour (the brushwood - tinder that will flare in an instant like blinding anger)
from place to place - utterly devoid of wisdom. The Three Poisons, in Buddhism,
are greed (the desire to grasp onto anything), anger (the wish to destroy because
your ego has been in some way offended) and wilful ignorance ( or being blinded by
one's selfish concerns to the truths of life); Kanehira is affected by all of them.
The 'wig' play - The Royal Visit to Ohara (Ohara Goko)
The third play in the proposed programme is The Royal Visit to Ohara (Ohara Goko) and this, like Kanehira, is drawn from the Heike Saga (Heike Monogatari). It centres upon the dowager Empress Kenreimon-in, who experienced the destruction of her whole clan at the sea-battle of Dan-no-Ura,
including her son, the young Emperor Antoku Tenno, who took his own life by
leaping into the sea. Kenreimon-in also attempted to drown herself when she saw
this but was saved from the water by one of the enemy soldiers and subsequently
took orders as a Buddhist nun and retired to the Cloister of Quiet Radiance in an
attempt to come to terms with her son's death and the destruction of the clan. The
play deals with a visit made to her by her husband, the Retired Emperor Go-
Shirakawa. It is the first time she has seen him since the disaster a year earlier and
his request for an account of the battle and its aftermath brings back all the misery
and horror of the occasion.
Centre stage is a small upright hut structure, with a straw roof and open
sides, which at the beginning of the play is completely covered by a cloth. The
play begins with a courtier, who is one of the kyogen actors, coming to the naming
place and proclaiming the Emperor's intention to visit his wife in the Cloister of
Quiet Radiance in the mountains. He calls for the road that the Emperor will travel
to be cleared and blessed.
A stage attendant now removes the cloth from the hut to reveal the Empress
(shite) sitting inside it. She wears the mask of a young woman that displays both elegance and beauty. She has two of her former ladies-in-waiting in attendance,
125
Tsubone and Naiji, who wear less impressive masks and kneel on either side of
her. All three of the women wear the dark robes of Buddhist nuns, with soft white
hoods covering their heads and shoulders. They all carry rosaries, and Tsubone
also carries a basket.
The women chant about the simple brushwood hut they live in and the
'gaping fence' made of bamboo poles 'knotted like the griefs that have come our
way.' They speak of their isolation, the sound of a woodman's axe, the sighing of
the wind in the trees, and the monkeys wailing, and the fact that visitors come
very rarely. The tone is desolate, implying that the Empress has not yet found
any consolation. She almost immediately expresses her intention of going up the
hill behind the temple to pick herbs and Tsubone says that she will go with her to
gather firewood and fern shoots for the kitchen. The Empress compares herself to
Buddha performing the same actions when he left his father's house, although she
admits that it is sacrilege to think in that way. However, the very act of
comparison is the first statement of the theme of the play, which is self-deception.
Tsubone hands the Empress the basket she has been carrying and they depart up
the hashigakari, leaving Naiji seated by the hut.
The retired emperor now makes a processional entry down the hashigakari,
accompanied by two palankeen bearers who hold a canopy over him, representing
the non-existent palankeen. A Councillor follows them. The bearers and the
Councillor chant about seeing the young green leaves of spring and pushing aside
the deep, damp grasses on their way. The impression created is one of lushness
with a hint of a very earthy sexual desire. The palankeen now stops at the pine
near the stage and the Councillor goes to the naming-place and, turning to face the
Emperor, gives a highly romantic description of the dew-laden garden of the
Cloister, its willows and pond and high banks of golden roses, and the call of a
cuckoo in the distance. All is abundant life and energy and we wonder if this can
possibly be the same place that the Empress was talking about. The Emperor
contributes a poem describing the cherry blossoms scattered on the surface of the
pond, and declares that 'the flowers on the waves have reached their fullest glory.'
126
It is a poem attributed to the historical Go-Shirakawa and suggests that beauty
(the blossom) is best appreciated when remembered (on the waters of time) rather
than when seen. The chorus describe water falling over ancient rocks and tell us
that the Cloister itself is in ruins; it has broken roof tiles and is full of mist. The
Councillor reinforces this by noting the ivy and morning glory creeping along the
eaves and the doorways all choked with rankly growing goosegrass. We have an
image of the dominance of untamed nature, which suggests that the inhabitants of
the place are probably giving way to their natural impulses and are far from the
enlightenment which should be their aim.
The Councillor exchanges words with Naiji and learns that the Empress is
gathering herbs. He communicates this to the Emperor and invites him to be seated
and await her return. The Emperor crosses the stage to the waki position where he
sits on a camp stool provided by a stage attendant. The Councillor accompanies
him and sits on the floor slightly up-stage of him. The palankeen bearers sit down
where they are, near the stage end of the hashigakari. The Emperor addresses Naiji who has started off to fetch the Empress. She turns and kneels at the naming-
place. He asks her who she is. She tells him and says that she is not surprised that
he docs not recognise her because she has become so unsightly, though, in
compensation, she claims that she no longer worries about whether tomorrow will
come or not. She begs him to wait.
The Empress and Tsubonc now return down the hashigakari. The Empress stops at the second pine (the pine of 'man') while Tsubone remains at the third
pine, behind her. She complains that all her days close in emptiness and that she
cannot forget her husband's face, which again is not a very positive attitude. She
calls on Amida to accept the souls of her son and her mother in his Western
Paradise. She then hears the voices of the Emperor and Naiji. Tsubone bids her to
rest and brings her a camp-stool. She sits and Tsubone kneels a short distance to
her right. Naiji tells the Emperor the women are returning. He looks at the two of
them and asks which is the Empress. Naiji identifies them and then goes and
kneels at the first pine, turning to face her mistress, telling her that her husband
127
has come to see her. The Empress admits her feelings for him and says how difficult it is to forget one's attachments to the world of illusion. She is afraid people will be scandalised by the Emperor's visit now the two of them are supposed to be celibate devotees of Buddha. The chorus speaking for her says that she was more prepared for a visit from Amida at her death than a visit from the Emperor in her lifetime. Naiji meanwhile takes the basket from her mistress and places it in the hut and then kneels to its right, in front of the flute player.
The Empress rises and moves to the naming-place. Tsubone remains at the second pine, keeping her distance. The Empress, largely through the chorus, expresses her longing for the Emperor with images of his moon-like radiance. She mentions the lingering spring leaves (implying she still has some feelings of youth), although the blossoms are now scattered (her beauty is gone), she speaks of sunlight catching the blossoms on the pine boughs (her revived memories of the past) and late flowering cherries hidden beneath new leaves (which is a clear image of her desire). She then comes on stage still wondering if it is 'proper' for the Emperor to be waiting at her brushwood door, like a young lover. She takes a position centre stage, while Tsubone crosses over to sit beside the Councillor.
She next thanks the Emperor for his visit, comparing him to the moon shining on the capital which also makes itself visible here in her retreat. He tells her he.has come because he heard that she has seen with her own eyes the natures of the Six Realms - five of them inhabited respectively by thb hungry ghosts of the unappeased dead, by sinners being tortured, by the ashuras (a race of magical giants who are constantly at war with the gods), by beasts, and by men - the sixth being Paradise. The Emperor says that this puzzled him because the Six Realms should not be visible to anyone until they have become at least a Boddhisattva, and his tone politely implies that that is the last thing he could imagine the Empress becoming. When we reflect, too, that the rumour can only derive from the Empress herself - an act of sheer egotistical self-advertisement - we are quite sure she is not yet anywhere near Buddhahood and we are reminded of the seemingly innocent comparison of herself earlier to the Buddha gathering herbs.
128
The Empress complains that she feels that her life is aimless, like an
uprooted water-plant or an unmoored boat drifting down the river. She goes on to
explain, with the help of the chorus, that she has not really seen the Six Realms,
but feels that her life has in effect taken her through them. Briefly she enjoyed
Paradise in the early years of their marriage but the clan wars intervened. She
recalls the events leading up to the battle of Dan-no-Ura: the clan tossing on the
waves with no water to drink were like hungry ghosts; the shrieks and
lamentations of the soldiers as the high waves threatened to smash their boats
against the rocky coast were like those of the tortured souls; the clash of warriors
was like the terrifying battles of the gods and the ashuras; the pounding hoofs of
numberless galloping horses reminded her of the realm of beasts; and all these
torments were suffered in the realm of man. She feels she is at the end of a life that
has turned into nothing but pain.
The Emperor politely says that hers must indeed have been an incredible
experience. Then, since he was not present, he asks her to tell him about the last
moments of their son, the young Emperor. The moving account that follows takes
the place of the usual climactic dance, for this is one of the few nob plays without
any dances. She tells how the Heike (Taira) attempted to withdraw from the battle
but found the tide against them. Then, as it became plain they would not survive
the battle, one warrior cast his arms around the necks of two companions and
leapt into the sea, crying 'die with me!' He was followed by Councillor
Tomomori, who wound the anchor rope around himself and used the anchor to
pull him down as he jumped. At that moment Lady Nii, her mother, declared she
would never fall into enemy hands, nor would the young eleven-year-old Emperor,
and taking him by the hand she led him to the side of the ship. When he asked
where they were going, she said that they were leaving this vile world to go to the
Realms of Bliss below the waves. He said 'I understand', then turning to the east
he bade farewell to Amaterasu, goddess of the sun and his ancestor, and turning to
the west he called ten times on the name of Amida Buddha. He then delivered a
poem ending 'deep beneath the waves there lies another capital' and the two of
129
them plunged into the depths. Kenreimon-in had tried to follow them and also
jumped, but a Genji warrior pulled her out of the water 'adding unwelcome days
to a worthless life.' She declares that she is ashamed to be weeping, but his visit
has unnerved her. She leans forward and hides her head in her arms.
The chorus then tell us the Emperor's followers are urging him to start for
home. The Councillor bows to the Emperor, who rises and proceeds towards the
hashigakari. At its foot the palankeen bearers, who have risen with him, hold the
canopy over him, and the Councillor leads the procession up the walkway. As he
goes, the Empress also rises and watches him go, her hand resting on one of the
pillars of her hut. The chorus ends by telling us that she gazes after him for a while
and then re-enters her hut, but the image we are left with is of her standing beside
the hut and weeping.
Sad though the ending is, particularly when the Emperor leaves and passes
by her without even a glance, it is clear that the Empress is the victim of an
improper pride which blinds her to spiritual realities. Indeed, when she comes to
speak about her son's death, her emotions are so strong that it is plain she is very
far from accepting what has happened. That is why the Cloister of Quiet Radiance
(an ironical name) is described as being in ruins. Clearly the Emperor is rightly
sceptical about her claim that she has become a Boddhisattva and she has merely
been" over-dramatising aspects of her own life. After giving her account of the battle she declares that she is ashamed to be overcome by emotion and therefore so
far from true enlightenment: her ego, and her sexual response to her former
husband, reveal themselves as obstacles in the way. Her 'whatever will people
think of his coming to visit me' is completely on the egotistical plane of public
image. That is why she is 'a plant uprooted from the brow of the shore' and 'an
unmoored boat upon the river' which by implication means she is being swept
downward by the current of time and emotion: in short, she lacks spiritual roots.
But at least she is beginning to realise these things by the end of the play. The
contrast provided by her young son's acceptance of his death and his certainty
about the superiority of the 'world beneath the waves' is striking. The young
130
man's wise death, consecrated to the goddess of the sun, his ancestress, and Amida
Buddha, his hope of salvation, is also a contrast to the pointless deaths of the
other clan members in the interests of what they believe is their 'honour': they are
not seeking any kingdom beyond the waves, they are blinded by the possible
shame of defeat in battle, and die for purely selfish reasons - damned like all
warriors - and, indeed, according to local legends, their unquiet spirits still haunt
the sea and the shore near Dan-no-Ura in the form of oni-bi or demon-fires
flickering above the waves.
The 'lunatic' play - The Bird-Scaring Boat (Torioi-Buney
The fourth play, the play of lunacy and derangement, is a late sixteenth-century
piece called 'The Bird-scaring Boat' (Torioi-bune). Untypically in this play the waki, who is a lord, arrives late and the waki's companion (wakitsure), who is playing the lord's steward, takes a very active part in the action.
The play opens with the lord's wife (the shite) and his young son (a kokata or child actor's role) entering and kneeling in front of the chorus, virtually in the
waki's normal place. The wife wears a middle-aged and slightly worried mask; the son is unmasked. The lord's steward then enters down the hashigakari and stops to introduce himself beside the 'earth' pine. He tells us that his lord's fields which
lie beside the river are being ravaged by flocks of birds from the nearby marshes,
and that it is necessary to send out bird-scaring boats every year to drive them off.
However, this year his lord is away pursuing a lawsuit in the capital and he has no
servants available for the job, so he intends to ask his lord's son, Hanawaka, to
perform the task. Granted the feudal society this is Iese majeste of the highest level, an insubordinate act of 'madness' for which the steward would normally
pay with his life!
Ile advances to the naming-place to attract his lady's attention and, having
obtained it, goes and kneels centre-stage. He makes his proposal, which is greeted
by the shocked mother with a stem reminder that the young man is also his lord.
131
He indicates that the situation is critical. Lord Higurashi has now been away for ten years pursuing his law-case - clearly another act of'madness' - and he fears that, if the crops are not saved, the estate will have to be closed down and both she and her son will have nowhere to live. She admits that he has a point, but says that Hanawaka is too young to go bird-scaring by himself and that she will go with him. The steward points out that whereas the use of the boy might be overlooked, the presence of a noble lady out on the marshes scaring birds would be bad for the family's reputation. Nonetheless she insists, and the steward says that the boat will be waiting for them in the morning, and retires. When he has gone the wife laments the way in which her son has fallen into servitude and declares that they are both so upset by the idea that it has made them weep. The two of them cross the stage to the foot of the hashigakari, make a gesture of weeping, and go off.
Lord Higurashi (the waki) now enters, followed by his servant (a kyogen actor). They both carry swords. At the naming-place he declares that he has come home and mentions the melancholy feel of autumn in the air. He says who he is and tells us that he has won his lawsuit after ten years and is returning in triumph. He says he can hear flutes and drums being played loudly and asks his servant to go and find out what all the noise is about. He then crosses to the waki position and kneels there. The servant goes to the foot of the hashigakari and has a convers~tion with some imaginary people offstage, then he turns to tell his lord that the bird-scaring boats are just being sent out and are well worth seeing. The lord agrees that they are one of the main attractions of Kyushu. He says he will go and have a look at them and orders the servant to precede him and tell people he is coming. The servant says he will and retires to the rear of the stage. As he does so a stage-assistant brings on an elaborate openwork 'boat' structure, with an arched frame in the middle of it from which hang bells, clappers and a drum, He places it
near the naming-place. The son .and wife enter. They have changed their outer robes into something
more practical and the wife wears a wide-brimmed straw hat like a peasant. The steward is with them carrying a boating pole and with one shoulder bared, to
132
show that he is about to be involved in strenuous work. They enter the boat structure, with the son in the front and the steward at the rear. There is a short passage where the steward poles the boat and describes the ears of grain and the intrusive birds while the wife and son mime beating a drum to scare them off. The wife and son describe how they have built a guard hut in the marshes to live in while they are bird-scaring. The wife reflects on how human beings are as temporary as bubbles on the waves which suddenly appear and just as quickly dissolve again. She describes gulls bobbing on the water, and says that it has rained so much she thought the skies would never clear. She wishes she could sail across the River of Heaven (the Milky Way) and see her husband again - doubtless recalling the Star Festival when the Herdboy and the Weaving Maiden are allowed to meet on the bridge of birds provided by the gods.
The steward lays down his pole and retires to the rear of the stage. The wife takes off her hat and says her lord will never return and the future holds no hope for her, though it is not herself she grieves for but her son. She makes the gesture of weeping. Her son turns to her and blames the steward for being heartless. He declares that he hates him and will tell his father about him. The wife says however important the lawsuit was, they would never have had to suffer this humiliation if his father had stayed at home. They both make gestures of weeping.
The steward comes forward and speaks harshly to them, saying that the neighbours' fields are clear of birds but theirs arc still thick with them. He steps into the boat. The wife and son and the chorus describe the bells and clappers and drums sounding all around, the rising clouds of birds, the wind whipping the waves to a white foam. The wife then looks at her son and, in an aside to the audience, admits her overpowering desire for her husband and her growing bitterness at his absence. She says that even the full moon cannot dispel the darkness in her heart - clearly meaning that even her kindest memories of him cannot relieve her longing. She watches the birds fly away and they remind her of parting and separation. The steward says all the birds have at last been driven off their fields and he invites them to take a rest. They all sit down in the boat.
133
The lord says that he has been so fascinated watching the boats that he has
forgotten that he should be hurrying home. However, he is intrigued as to where
the most picturesque boats have come from. He will call one over. He does so. The
steward wonders who is speaking with such authority and he describes and mimes
poling the boat towards Higurashi. Then he looks up and recognises his master. He
drops the pole. Higurashi does not at first recognise the woman and child in the
boat, nor they him, but his son Hanawaka tells him the whole story and he is very
angry. He says he feels his son's keen disgrace at doing this menial task, blames
himself for staying so long in the capital, and declares his intention of killing the
steward. He grasps his sword and steps towards the man, reproving him for what
he has done and asking him if he has anything to say in his own defence. The
steward is silent. Higurashi draws his sword and moves to centre stage. The
steward retreats to the shite pillar and bows. At this point Higurashi's wife comes forward and tugs at his sleeve, saying
that what has happened is not the steward's fault but his own for having been
away so long. He turns to face her. She steps back and they sit facing one another.
She compares his absence to the story about a countryman who stepped into a
magical hermit's hut for what he thought was only half a day, but came out again
to fin~ that a hundred years had passed. She begs him to forgive the steward for
both their sakes and she and her son put their hands together in supplication. He is
convinced and pardons the steward, handing him his sheathed sword. The steward
goes to stage centre and bows to him. The chorus ends the play by saying how
Hanawaka in due course inherited his father's estates and became a virtuous
warrior. As they do so, husband, wife and son exit up the hashigakari, leaving the steward centre stage with Higurashi's sword over his shoulder.
This relatively slight and simple play, with its message of forgiveness,
begins to lift the heavy weight of unresolved longing which began with Kanehira' s
anguish. The wife does not hold the steward's actions against him, but blames her
husband for his long absence in pursuit of legal redress - but the husband has
already recognised his own shortcomings and it is implied that his example of
134
honesty and clemency morally strengthened the young boy's character for the
future. The compassion shown to the steward is a first step along the path of
enlightenment, while the false pride attached to honour and possessions gets a
drubbing and is put into perspective.
The 'demon' play - The Valley Rite (Taniko) 2
The 'demon' play of the programme, in which evil is seen to be overcome by the teachings of Buddha, is called Tanika or The Valley Rite. It centres upon the
unusual custom of a group of yamabushi (warrior priests) which is to throw any
member of the party who becomes sick on their mountain pilgrimage to his death
in the valley below. The play is unique because there is no shite in the first four
sections and the action mostly takes place between the waki who is the leader of
the priests and a young boy (another kokata role). The yamabushi, with their
belief in their magic powers, are very appropriate characters to find in this kind of
noh play because they were traditionally called upon by villagers to exorcise evil
spirits, but the audience would certainly not expect what happens in this story,
where the yamabushi themselves become the focus of evil.
The play begins with a young boy and his mother entering and crossing over
the stage to the waki position where they both kneel with the son upstage of the
mother. She wears a slightly-worried middle-aged mask, while he is unmasked. The
leader of the yamabushi then comes down the hashigakari as far as the pine near
the stage, where he declares his intention of visiting his young disciple
Matsuwaka, who is living with his widowed mother nearby, to tell him that he is
about to make his yearly pilgrimage into the mountains and to say goodbye. He
regrets that Matsuwaka's mother still keeps the boy so much tied to her apron
strings. He proceeds to the naming-place and faces the mother, asking if anyone is
at home. Matsuwaka rises and goes to centre stage. The leader asks him why he
has not come to the temple for such a long time, and the boy explains that his
mother has been ill. The leader enters to speak to her and she asks him if he is
135
going to take Matsuwaka up the mountain with him. He says he will not, because
it is a very difficult and arduous trip undertaken as an act of penance and self-
mortification and quite unsuitable for a young person. However, as he moves to
leave, the young boy follows him and begs to be taken up the mountain so he can
pray for his mother's health. Since it is a matter of filial piety, the leader returns
and asks the mother for permission to take him. She is very loth to allow it, saying
that he is now all she has to live for since her husband died, and she begs the boy
not to go but, when it becomes obvious how keen he is, she eventually agrees,
only asking him to hurry home again. He departs with his master in the direction
of the shite pillar, while the mother rises and watches them leave, taking one or two longing steps after them - the chorus voicing her sadness at being parted from
him for the first time. Master and disciple depart up the hashigakari and after a brief pause the mother follows them.
A stage assistant sets up a platform about three feet by six near the naming
place with a sapling rising from each end of it. The yamabushi leader enters with
his deputy, young Matsuwaka, and five of the pilgrims. They are all carrying
rosaries and the leader is wearing a short sword. They cross to the chorus side of
the stage, where the leader introduces Matsuwaka to the other pilgrims and they
form two rows, to left and right of the stage, facing each other. Without moving,
the leader and the pilgrims deliver a michiyuki speech describing their ascent into
the mountains, the chill wind, the plover's cry and the coming of dusk. The leader
takes a few steps forward and then returns to his position to indicate that they
have reached the end of their day's journey. They describe how they spread their
priestly robes on the dew of the mountain and sit down to rest.
At this point they break ranks and make a semicircle facing the audience in
front of the musicians, with the leader and Matsuwaka to the audience's right.
Matsuwaka tells the leader he is feeling ill, the leader hushes him and Matsuwaka removes his cap and outer garment and lies down with his head in the leader's lap.
The deputy, to the audience's left, rises and asks the leader if it is not true that
Matsuwaka is ill, the leader says he is merely tired. The deputy says he is glad
136
and retires. However, one of the other pilgrims says that the leader is only making
excuses and reminds the deputy that they have all taken vows to hurl any person
who has become impure by falling sick into the valley below. The boy should now
be cast into the valley as their traditions require. The deputy rises again and tells
the leader that the Valley Rite must be observed. The leader says that he will
explain what must happen to Matsuwaka. He does so and Matsuwaka says he
could ask for nothing better than to surrender his life on such a pilgrimage.
Gathering round the boy, they all declare how sorry they are and the leader weeps
openly, raising both hands before his face. The chorus underlines his dilemma and
then speaks for him. Through them he quotes a famous passage from the sutras
which describes how 'all things shift with the changing world, like dreams and
wraiths, like foam, light and shade, like dew or the lightning flash' - but he says he
has never realised what this truly means till now. He feels like a bereaved father
and the desires of humanity torment him. The deputy, however, urges him on and
the chorus describe how they hurl the boy into the ravine, rolling logs and rocks
after him to bury him. While this account is chanted they place the boy on the
platform and push it down to the sight-directing pillar nearest to the audience on
the left. A stage-assistant covers the boy with a robe signifying his death.
The deputy now declares that it is morning and they must be on their way,
but the leader refuses to move and tells them to throw him into the valley after the
boy, because his grief is an impurity as bad as sickness. They will not countenance
that, but one of the pilgrims suggests that they should pray to the founder of their
order, En the Ascetic, to bring the boy back to life. The leader agrees and they
gather in a group facing the audience and invoke their founder, vigourously rubbing
their rosary beads with a circular forward motion of the hands. They then return
to their positions in the semicircle in front of the musicians.
En the Ascetic (shite tsure) now enters to the sound ofa flute. He wears the
mask of an angry old man, with a long white wig and a Chinese hat, and carries a
pilgrim's staff. He declares that the three poisons of greed, anger and
thoughtlessness are all successfully purged away by the exertion of journeys into
137
the mountains and declares that the moon of Buddha's enlightenment will
illuminate the man who has piled up merit. He declares further that Matsuwaka's
life was an unequalled example of filial piety and for that reason he will restore
him to life, thus showing how Buddha in his mercy responds to even the deepest
needs of man. He then invokes Ginyo, the god of the ancient gigaku dance, to
revive the child.
To a rapid flute accompaniment the god (shite) descends the hashigakari. He is richly dressed and wears a frowning demon's mask and a red wig, which is a characteristic of many noh gods. In his hand he carries an axe. As the chorus describe his actions, he first kneels before En the Ascetic; then rises and bows to him. After that he leaps up onto the platform, where he dances, miming lifting away the rocks and logs piled upon the boy and cutting down the two saplings with his axe - which are removed by stage assistants. As the chorus describe him tenderly parting the soil and lifting up the boy unhurt, he grasps and removes the robe laid over Matsukawa and the boy rises. He embraces him and takes him to En the Ascetic, near the waki position, who touches his head with his rosary, commends him for his loving, filial heart, and commits him to the leader's keeping. The Ascetic then exits along the hashigakari, followed by the god. The chorus describe them flying away over the mountains and vanishing from sight and, when the god reaches the exit curtain, he stamps to imply their final disappearance before he goes off. All the other players stay on stage till the music ends and then depart up the hashigakari.
It is an unusual demon play, because the demon who is involved represents creative energy and does only good. The 'evil' destroyed is plainly the death- dealing Valley Rite, which is the typical product of a sect of holy men who believe themselves to have an exclusive view of the truth and freeze what should be compassion into an inhuman 'perfection' which, in this extreme case, leads them to destroy anybody that illness renders imperfect. By swearing to do this, quite apart from disobeying their Buddhist vow not to take life, they place far too much stress on the honour of their order. The boy joins them for compassionate
138
I \ I \
reasons, to pray at the mountain summit for his sick mother. Very properly, the
leader is overcome with remorse when he considers what their rite has 'forced'
them to do: but his proposal to be thrown into the ravine himself is an egotistical
act that would have damned him and all who helped him. More sensibly, they all
repent their action and call upon En the Ascetic, a being of true insight and
wisdom, to come to their aid and resurrect the boy and, with the help of the god of
the gigaku dance, his restoration to life is achieved. This is certain to set everyone
involved on the direct route to self-denial and ultimately nirvana, a route on which
the young boy, in his innocence, is already far ahead of the rest. This play, like the
first, ends with an aspiration towards heaven shown by the Ascetic and the God
flying upwards, and the resurrection of Matsuwaka brings the cycle of plays as
close to its ideal starting point as possible.
After the last piece, to complete the programme, and emphasise the constant
struggle for enlightenment, there would be the usual extract from another god play.
This could well be the popular chorus from the end of the play Takasago:
The pleasures of a thousand autumns gladden the people,
The joys of ten thousand years give them new life.
The wind in the Twin Pines
Softly sighs, giving voice to songs of great delight,
Softly sighs, giving voice to songs of great delight.
And the audience would leave the theatre in a calm and positive mood.
NOTES
1 Those who want to read the five plays described here will find them at the end of 20 Plays of the No Theatre, edited by Donald Keene, Columbia, I 971, pp 253-332.
. 2 This play inspired Bertold Brecht to create two teaching plays (/ehrstiicke) in one of winch (Der Jasager • 'He who says Yes') the boy agrees to his death as in the original, and in the other of which (Der Neinsager - 'He who says No') he does not. '
Worship pavilion (hai-den)
About U.5 feet x U.5 feet
Elevation
Early noh stage
About U.5 feet x U.5 feet
Elevation
Floor plan Floor plan i===t
E::3
Later noh stage Main stage about 18 feet x 18 feet
Elevation Floor plan
Rear stage
Fig 2. Development of the noh stage.
-------~- ----
:t: "' "' ~~p. i:: L.. ~c~c <:) L.. §, ~~ ~ <:)~,._ llO!J!SOd !>'11.IOlf:) :t: ~ l:l, .s '- I
·-= .:: ~~ e l:l, l:l, --~ <:) -::.: :t: i: -.i .liJdV/d iJJ11Jd ~i::: ~ '-l
...... .s r 11111.1p .tiJpJ11011s r -;:-- ,,; "' "' IU11.lfl ll!H "' ~ L.. .5 6 l,., ~ i::: ::I
~ 11111.1p 'f;J!JS ~ :i::: ... b,O "'"'i:::
~ :i::: :t: ~ &~ ~ ... "' 0 ~ ~ c;;s::: OJ) L.. ti ~ ~ ... t .;!
~ ., ~ ,Q
& .c ... ., "i ~
L.. ~ L.. ~ L.. -"'i::: OJ) ~ i::: -!:: " :i::: ~ -~ :::: .S: ::::: ~== ... ...
~~ "' ·e ~ l:l, i:::... l:l, .c d ~ -~ •§ b,O ~~ 0 ~ t3 .:.; C !l
~ ~ ~ ... ~
.... 0
.!. C -.::: ~ -~ a: ~ ..;. ee :t: OJ) :i::: C ~ ~:f l i::: =: o,; l:l, <:)
i: ) L.. ~ ~
Fig 5. A typical noh mask •. This is the ko-omote
the mask of a young woman
The dark smudges 011 the brow represent eyebrows. According to the custom at court the real eyebrows were painted out anti this make-up replaced them.
r Boxes
Temporary hanamichi
!
I S:JXO[I
"' ;; ~ ~ 2~ -5 c ;,.. ~ ~"' :;~ ... .~ ~ :: ~ ~ ..:::..::: C•L.. Q, ·E~ ~ ! t " " ~§~~~ ... " -~ ~..::: ~ ~ "' ti 00::';: ;g '::';;"';:;~~ ~
_§ ~;S; § :-St;~~ ·z;;
a.i 0 6S~'S5 c:. i:,.,.,::~-a ell 1;; .. "' .... ~ .S,. ~ ~ ... - 0 ~~;S~ti "' s ::2 et ~ ~..s-~ ~ ·= ::I ..: t--.: ~ 't ::: .c g "' .t,e § e.t "' ~
.::: .s ti; e.t~ ti .:,: "' -~ ~ ~ ~ § ,:; " ..c: et c~t:s ~tJ - Z; ~~g~~ '- "' 0
::2 - C .._ ~ - = ~~~..;9, C ,Q ~ ,1::l §..., .s ,:; 12 ~ Ei·:: § "'J a i::· ~"'::·-;a- C. ~ C ~-!==~ 0 .e t; :; ~ -~ ·.:: 'ii C . 5 ~ ~ §~
.. " ,:; " "'...,"'::"' "C .::: £: ~ g ~ .t,e ,:; ;; ~ ::: Q ~ -s ..c: ....
~ ~-~ ~: - " ell E 6 ti -~ ~ C .. ..::: wt'}--;S ! -~ ... ~ S..::: I,,, 0 0 ~s-~ ~ ..c: C "' .. i:,., ~ "' "' ii: C ~
C:
u s u u ~-,-----·-- ;2.
r s I
I 0 I :!) ~ I i::· :r. I I rJJ ~ ::=:• " :r. I rJJ = .... "'- et I ... 2 ~ I ~ : : ,-: r;.i I " ---·•---- et ::2 ... Z; = CL "' ,Q ~ _;,; :i:: 12 :i:: ·a :.- . u .::: = .: 0 .;,: z 0 .. J;,J .(.11113 .\.IJ113 .\.JJll3
1 ; l :i -I :j -~
;---~ _, ~,...,.,_ _ _,,.._.__,...,.. ...
Boxes
Temporary hanamichi
i.: ~ - ~ "O C e: 0 f"l 0() - ... C
Sol ~ t Oil ~ e: ::: Sl - ~ E "' :i .c e: .:=:: '?. ... 'c. >, - e: ... C C e: .~ E::: t::~ I tl11.1.L l QO ~ ~ Oil I::)., ... ti: 0-()"' ::: 0-()
'i: ·== !IJJ!llllllWJJ ~ == ·== ~~ ~ t.; s :::: ... :..
E ~
SJ.\'Of{
I
'
Fig 9. Kumailori make-up - a villain's face.
The lines shown here as grey arc in fact blue. A hem's make-up would be black and red.
Matsuomaru 's first make-up i11 71,e Secret o/Sugmmra's Calligrapl,y (Sugawara JJe11j11 Tenaral Kagaml)
I
I
-·--~
I
I I
... , <J I 8 I !; I ij I -i:, I ... ' .g I t: I == w
I
I I
!
.. ... SJ ~§· ""~ c,,,i:: ~~ f::'."f ....
:.::: ...c: ·-"' ii-;; .... ~ --- --- ' ;:
~ ~ ~~
.s ~ i::
~~ ·- .. .. ./::: s~
§ > D l: a§§
ti , i:: ,
4)
.s
i;.
..
- <:)
~ °' ~ Cl,I
...,
§§§ .c -i:: -i:: B
- -"' ~
"" =
-S-~ ~ \ .:,: ~
~ ~
~ i;.
~ .-s t
C
~'c, -i::
ii = ..c ~ ~ ii ~
C
!= g ii ii i;.
!. .s Cl,I
;! ~
"O
<:)""
::,. <::,
0
.. "'""' ..., ~ ~ \ .:.:~"" 6
~ s
"" '".:.: ~ {;
~
"" ·E ~ <=> ·._ i:: "'
::,.
.s '-
"' E i:J t4..:;: g == ii - .. i:: ~ e
&!§ 0
<:)
s-,, -i:: -:::
.s -::s-- :;.
C
i::
;t 6 ~
-~ == ..,. ti ..,.
s:
<:)
..., tE '- j {; "& s-,,
i::
0
-~ 15
§. :;:;
s-,, - .:.:
I 01)
!:I c,,,
ii: i::
~ / ~ :; "' i ..:; §§B -e: ".:: / <:) ~ \ 0. §g~ ..,/ ""
§§a ,!::
