Module 9 Discussion Post
subaru93
NohandKyogenplays.pdf
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Masterworks of the No Theater
Kenneth Yasuda
Indiana University Press O Bloomington & Indianapolis
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Atsumori Introduction Atsumori is a wan-ior, or shunt. piece, which belongs to Group II of NO plays. It occupies a pla«' bC"tween lhe god-play and lhe wig-piece in the NO program or five plays. Compared with the former, there are some structural changes in the shura piece, but it demonslrates the formal elements o( the god-play more than those of lhc wig-piece. Also, the shura piece lacks the poetic richness of the yrigm quality that dominates lhc wig-piece. 2.eami is awatt of lhis, as he states in the "Shura .. ~cclion of his C-5MY entitled "Kadcn~ho": •"'Jnis (Miura pittcl is al~ one tyFH!'. Though we perform it well. interesting points are rare." 1 The reason for this prob- lem is that "the shunt madness is apt lo assume-a demon's adion. It should not be performed often." Con~uently, he advises rhe playwright as follows: "If the NO is well done by combining the beauties of nature wilh lhe theme of those who are famous among the Genpei. ii is also interesting."
True to this insight, Zeami chose the excellent theme· of the story of lhe young warrior-aristocrat Taira no Atsumori. told in the ninth chapter of the Taft oft~ Htikt and in the thirty-eighth chapter of lhf! Rrst·ond Fall of tht Gtnpti. In this slory. Kumagae no JirO Nao7..ane beheaded Alsumori. who carried the ramous bamboo nutC', Little Branch. in the brocade bag at his hip and pla)'('d it the night before he was slain. This sen~ of courtly elegan~ in the midst of the battleground madt" the gallant Genji warriors from the Eastern Land shed tears. 2 Atsumori was thrn only seventeen. with his teeth dyed black, as was customary for the aristocratic class of the time.
In this play, the candidate whom Uami selects for the waki is not lhe usual Buddhist priest who travels from provin« lo province. Zea mi introduces him to the audience in the nanori passa~ as follows: "I am kumagae JirO Nao1..ane. a native of the province of Musashi. I have renounced this world and become a Bud~ dhisl priest. calling mysrlf Rensei. Since Alsumori was sJain by my hand, the sor· row I felt led me to ,1 form such as this."
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The Jeannie r(!lation between the waki and the shire sets the !ouching tone of the play as it opens. In addition. Zeami use-s the sound of the bamboo Oulc so subtly that it serves as a prelude to the coming of the shitc. Tht> Outc and music .1ppcar then throughout the play to unify this warrior-piece.
The grass cuners (lsure} a~ ushered in by the following powerful line from a poem by Kakinomoto no Hitomaro, one of the great Man',Y6!-hU poets: ''There upon the hill/ stand::; the man who culs the grass:· a line thc1l h.,d also impressed Yeats with its image. Among the three grass cutters. Zea.mi cast the shik as a young man without a mask, which is exceptional, as GondO Yoshikazc observes.J This inno• vation is, indeed, refreshing and appropriately satisfying. and it unfolds the char• acter of the slrilt effortlessly. The dialogue between the tOO"ki and the shilt also sub- tly foreshadows the elegant. artistic side of Atsumori. who never directly rcvc-als his identity, as the chorus sings in his behalf:
lhough l ha~ not said my n,1mC!' should be-aippa~nt day ,1nd night you say th" Buddhist holy prayC!'rs tx-rore thC!' altar for •lhal one wh~ name Is mine.
After the lnterludt-, Part II opens with the usual "waiting $<mg" (rnachiuta1). and the nochi-jitt appears with tht> issn music as a young noble warrior, eleg,mtly cos- tumed with :a m:ask called jurcaku. When he stand!: at lhe !(l1il<' seat. as $."\kamuto Setcho observed of the nochi-iilc as played by l<anze Sakon (1S.,5-19)9). "Heap- P'ars. though warrior-like. ,omehow sorrowful. and with a loneliness akin lo a
, phantom in a dream, which shows very dttp chann." 4 Then "a confession""' serves as a turning point to unfold tht> "original source" of the story. and there ensue the kuri-sashi-kuM passages, where the nochi-j;,e tell!'. of the fall of the Heike and of the life at the First Ravine (lchi nO Toni). This section is £0ll0".-'ed by the gay scene of music and singing that Atsumori enjoyed with his father. lord Tsunemori. which culminates in the chii no mai. instead or in the quick burl dance that appears in seven plays of Group It while the othtt seven are classified as quasi-kakrri pieces.•"'ln this piece the dtil nomaii:, perhap!. used for the first time," says Condo Yoshikazu. 7 Nogami also states the rollowing in regard to the chii no mai:
Tht- d,a m, moi is rldnt0rdlnary for a shun, piecr; thto slru,. pieu is ~pn-,,ed as lhou,:h ii ~re a wig-piect •••• In Alsumori the play is divided into two par1s and strudurtd .after the typical shu,. piece. but following lM bst' in 1hr second part. the chll no mai dan<'ed by the nod,i-jift is exttplional. Atsumori is a young noble w.irrior, and is the same age as Tomoaklra and Tomonaga.• The piliable fact thal the lovely youth is bt:headed by the mighty v:alor of the Eastem Land made thit playwright, I believe, construct the play with the-yllgtn-antercd chil "o mai. •
Here I fttl the chll no mai is most appropriate. but not for the reasons that Nogami gives. For Zeami it is illogical lo use lhe standard hlctri dance. be,causc- it generally expres..o;es the warrior's agony in the Ashuta World. 10 and here, Atsu- mori's ur1settled spirit has found peaCt' for the most part. Thh; state i!I. du\" to the devoted prayers offtted ·•ievery day and every night"" by Rensei. and it is for this rr:ason that bami's use of the chii no rnai is significant. This is why a dcscripl ion of Atsumori's endless sufferings in the Ashura World is ab~nt here. revealing the
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playwright's deep insight into the play. Conwquentl_y. for Zeami. the heart of this play is to reveal the soul of the artistic side of Alsumori, who loves music and his lreasured bamboo Oute. which he could not bear lo leave behind in the enf.'my's hands. II is nol only most appropriate. then, but also natural that the chli 110 mai follows the gay scirnc of music.
The kaktai between the shit<' and the chorus leads to the combat scene on lht> shore. Th<>n, in a blind mom('nl of attachment, Atsumori tries to settle old scores. as thl' concluding passage shows. The chorw; sings for the shift in f5uyo,:i11 style:
and al last. slain and vanquishN, on 1hc:-Wh""'I or Fair lhal evrr lums, he returns lo mttl wilh you. "My t"nemy is herr," h" shouts as he's about lo strikt' him ...
bul here his warring spirit is calmed by the grace of the holy prayeJS. The chorus continues:
·•Evil I'll rl"pay with good" for lhe pra)"'tS you h.att said for me. c.1\ling on Amida's name •...
At lhe end or the play. as he make!- the romr stamp. he asks Rensei for the last prayer for his final rest and elemal peace:
(lh. say the holy pn)"'rs for my memory.
The figure of this young noble. Atsumori, in the concluding section is most memorable; the expression o( the NO mask lingers vividly even after he has made an exit.
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ATSUMORI
Bv ZEAMt
Persons: WAKI: Priest Rtnsc; SmTF. (PART I): Gl1ost of Atsrm,ori (apptars as a xrass culttr) TsuRE: Tht {tllow gross culltrs (lhrtd Nocm•JJTE (PART II): Ghost of Taira no A.lsumori (app(ars as him!-tlf) K YOCEN: A man of tl1t pl act
Classification: Primary, Grour II Place-: lchi no Tani in tht: land 1.1/ Sdlsu Timr: Au,tust Kog;aki: 4
PART I
(Followint introductury mu,ic ad ltd shidai. IM waki. Pritsl Rmsri. wt11ring • poinfn:1 hnod t'bku- b6shiJ. • l~fon,utl hnn,y silk kimono (noshim4!'). "ln-odd-sl«vtd tobr fmizugoromo). a wai51l,anJ <koshiobit ·• fan (Ogil. and a ~,y (junal. comn our lo l#w n,nnM1tyinx pillar and. facing thr m11:sicians" Stll'fs. sinzs I~ following shidai vrnr. J
WAKI
( 1 J (Shitui: au. ymu,iinJ
Yumr no yo nareba odorokile, yume no yo nareba odorokile sutsuru ya ulsutsu naruran.
As the world is but a dream. so surprised by this that the world is but a dream, so surprised by this; then renouncing of this world i!!. truly real?
( T1tt chorus sings· lht fidori, rq,tol;nt lht abm:,r lirrst:, erctpf I~ third and fourth lints. in a lou,r, lty.)
CHORUS
{Jidori: •11, you,agin}
Yume no yo nareba odorokite sutsuru ya utsutsu naruran.
As the world is but a dream, so surprised by this; then renouncing of this world is truly real?
(A(lrr lht jidori, tht w;,ki irrtonn tlrt following pr~ passa,it, 02/ltd nanort, inlroducin~ hims<lf lo IM audimcr in {,tr-rhythm rteitalivt stylt.)
·rworks ol lhe NO Theatf!'r
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(Nanori: awazu, MION)
Kot(' wa Mu~shi no Kuni no jUnin Ku- magae no Jir6 Nao7.ane n shukke shi, Rensei to mOsu h6shi nite s6r6. Sate mo Alsumori 11 o le ni kake mOshishi koto amari ni onnitawashiku soro hodo ni k.iyO no sug.,ta to naril<." sOrO. Mata kore yori khi no Tani" ni kudari /\lsumori no go--bodai o tomurai m6sab.,ya to omoi s6r6.
I am Kumagae Jir6 Nao7.ane, a native of the Provincl" of Musashi. I have re- nounced this world and become a Bud- dhist priest, calling my~lf Rensci. Since Atsumori was slain by my hand. lhe sorrow I fell has led me lo a form such as lhis. From hrre I lhink I will go we~l- ward to the First Ravine and there I will perform a holy Buddhist service for Atsu- mori's memo')'.
(After IM nanori. lht waki, still facin]l stagt frrml. s.ing1 lhr{ollowing ~ ag(!ula pas~gt. CDlltrl michiyuki. "lrawl sorix. ··1
WAICI
(Michi!(uki: AU, yov.oagiril
Kokonoe no kumoi 14 o idele yuku tsuki no, kumoi o idet~ yuku lsuki no minami ni meguru oguruma 11 no Yodo 111• Yamazaki 17 o uchisugite Koya no Ike .. mizu lkutagawa 1'
From the ninefold clouds girding round the capital. now the moon departs. from lhe cloud-girt capital like the moon we parl rolling on the southward round as the little wheel turns at Pool and Mountain Point we pass and journey across Koya·s lake water and the Ikuta;
ITht" waki facrs lo his right, gars fonaml ltvoor lhrrt Slt'J'S, 11nd lhtn rtlurn.-c In his formtr position. indirating tluJt ht has travtlrd; ht finisltts rht rtsl of lht lint,. J
nami koko moto ya• Suma no Ura 11
lchi no Tani nimo tsukinilceri lchi no Tani nimo tsukinikeri
t~en here where the waves rise up at the Suma Bay where the Firsl Ravine li6 deep I have also come. where the First Ravine lies deep I have also come.
( A{ttr tht michiyuki. lht waki /aw slll',l(f fronl and inlonts in {rtt-rhythm Mylr lht follmrin.e pro~ pa5!411(t. cotltd t.sukizcriru.)
(n.ukiurifu: 111.1,u.u. to,cm, lsuti SOrO hodo ni Tsu no Kuni lchi no Tani ni tsukile s0r6. Makoto ni mukashi no arisama ima no yO ni omoi iderarete sflrO. Mata ano Uenon ni atattl' fue no ne no kikOl" S0r6. Kono hito o aimachi
I have travt"lt"d so fast that here I am al- ready at the First Ravine in lhe Province or Tsu. Truly I still rttall that SCf'ne or long ago as though ii,..-~ today. )focing to Iris ritcht. J Besides. over in the dirrction
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kono atari no kotodomo kuwashiku ta• zunebaya to omoi SOn).
of High Meadow I c.in hear the music of a Oule. I will wait for that person. (FocinR stoat front atnirr.l Among other things. I would like to ask him .ibout the stories o( this place. fTht w,,ki ,t()N: lo the waki ~, andsitsd(fWn.)
(Following tht shidai music. lht shilc, IM° grnss cutlu. tnlus lht slaRt: wniri,,R o Nii ma~. a a•llar irr part blut (eri asagiJ. er slriprd. ltSs•farmor silk kimr,np (dan noshimt"I. 1111 "'infrri,,r sill(. /1rotlfl• slm'td robt (shike mizugoromoJ. a rvoislbund (koshiobiJ, and a fan <u,::;D. fk i~ fnlfrru>ed 11!( Iii~ ftllow grass cutlers. similarly drtSsd; all hClldinR spra~ a( ffuu.-.-rs a,,d facing tmr anolhrr. tl,ry ~inx llrt fpllcm,ing shidai WTSt" l~lhtr. J
[ 2 1 CShidoi: a&r. yow:rginJ SmTE ANO TsuRE
Kusakaribue no koesoete kusakaribue no koe soete fuku koso nokaze narikere.
For the flute grass cutters play. the breeze comes blowing. for the Hute grass c:ullers play. the breeze comes blowing, to accompany its voice across the field.
(The drorus sinis lht jidori, rrpcolirrt tht arol1t wrsc. cxcq:,r lht lhird crnd fourth lirrN. in a lflwtT "Y-1
(Jidori: ••• youiasinl
CnORUS
Kusakaribue no koesoete foku koso nokaze narikere.
For the flute grass cutters play. thl!' breeze comes blowing. to accompany its voice across the field.
(A.fltr tht jidori, th,: shile foas slagt frorrl •nd sings tht folluwing ~. calla/ sashi. J
SmTE
(Sa~i: OUIIIZV, yowaiinJ
Kano oka ni" There upon the hill kusakaru onoko stands the man who cuts the grass, no o wakete and across the field kaerusa ni naru he will be returning home yd"'!3gure. as the twilight falls.
SHIT£ ANO TSU RE Jfcrcing onr anolhn.}
leji mo sazona suma noumi sukoshi ga hodo no kayoiji ni yama -:ii iri
His way home may lead him. too, near the Suma Sea; short may be the palh he takes on his daily rounds deep into the hills
ura ni iz.uru uki mi no waz.a koso monoukere.
down toward the inlet. still the work o( man's sad li£e is too wearisome.
(Thr shit<:-and the tsure-sinR tl,r {<1llowit1R low-pitchtd song. calltd $.ageula. in slricl•rhythm yowa~ gin Myk.J
SmTE ANO TsuRE
(Sn.f{t'rda: au. yvr1ugin)
Towaba koso hi tori wabu tomo kolaemashi. 1~
Should one ask of you i£ I live alone and sad, let you then reply:
IThC!f continut lo sing lht falfqu,i,rR hig/1-pilchtd song. calltd agC"ula.J
(Asrula: au. yowagin)
Suma no Ura moshio tare tomo1' shirarenaba. moshio tare tomo shirarenaba ware ni mo tomo no arubeki ni amari ni nareba"' wabibitono shitashiki dani mo 21
utoku shite
by the Suma Bay dipping seaweed brine I live; i( someone knows me, . dipping seaweed brine I live. if someone knows me. then the~ ought lo be a r riend thal I too might rind, but this fisher's life I lead as a wretched man. lhose who are so dear to me keep their distance now.
(Tht shile gtJN to tht shite seal. and 11,r tsutt" tc, lht front of tht chorus. All stand and sing.)
sumeba to bakari Hoping only to survive, omou ni zo I resign myself uki ni makasete as I yield the rest to fate sugosu nari, living out my days, uki ni makasele as I yield the rest to fate sugosu nari. living out my days.
!At about th<' timt tht sinsing a,mn: tc, on ml. lht waki r!JO- Thtn. during lht follttWi11R p~ dialasut. OJlltd mondai. lht waki slands al ll1t waki r.tOI •nd lht shite al lht shile ~,. and lhry rtsJIOnd lotach olhtr.l
WA.Kl
IJI (Mondai: awazu, kotobaJ Jka ni kore naru kusakaritachi ni tazune Ho, there. Grass cutters. I have some- mOsubeki koto no s6r0. thing that I must ask you.
SIIITE
Konala no kolo nite sOrO k.a. Nanigoto nite SOr6 zo.
Are you speaking to me'? What can I do for you?
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Tadaima no fue wa kalagata no naka ni fukifamaite sOr6 ka.
About the flute I have just heard, is it played among you?
SHITE
San z6ro. Warera ga naka ni fokite s6r6. Y('s. The Aute is played among us.
WAKI
Ara yasashi ya. Sono mi ni mo 6zenu waza. Kaesugaesu mo yasashU koso SOrae.
Huw elegant! The performance is unbe- coming for folks like you, but it is very, very eleganl indeed, I should say.
Smn
Sono mi ni mo Oz.enu waza lo uketama- waredomo sore masaru o mo• uraya- mazare. Otoru o mo iyashimu na to koso miete sOrae. Sono ue sh6ka boku- teki" tote,
Though I hear you say the performance is unbecoming for folks like us. there is a saying: "Do not envy those who ex- cel you. Do not despise those who fall short of you." Besides, in the case of the "woocl~man's song" and the "herds- man·, flute,"
(17tt shite •nJ tbt lsu~ (tta: ant anolhtr and sini tM (ollowint WTSf' prusa~t. J
U.wn11, yow,Jinl
SHITE AND TSURE
kusakari no fue kikori no ula wa kajin no ei ni mo tsukuriokarete yo ni kikoetaru fuetake no .
for the Outes grass cutlers play, and the songs the woodsmen sing are recorded in the verses written by the poets too; how well known throughout the land and superb they are
( F«inz lou,onl rhr w.aki thty malr • bumras.hi ~urr. I
fushin nalll nasase• made of bamboo out of joint lamai so to yo. you ought not find us so.
(Thty rtmain slo11dill,t itt lht same posilio,,s. T1rttt (,.,/lows tht ltakrai, in f,tt-rhylhm yowagin stylt.l
CXal:t.ai: lltllllZII. yawoginJ
.,,ork.9 of thir NO The,11u
WAKI
Geni geni kott wa kotowari nari. Sate sate shOka bokuteki lo wa
Yes, indeed, what you have said appears reasonable; what you've said of wocx::li;men's songs and or flutes for shephe-rds;
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., ...... kusakari rm fue they're grass cullrrs' bamboo nutes.
WAkl
kikori no ula no and woodcutters' songs (or all
S1t1TE
ukiyo o wataru hilo fushi o
help them through the fleeting world with lhe melody.
WA.Kl
utt, mo as they sing lhtm,
St11TE
mO mo dance the rounds,
WA.kl
fuku mo blow lhe lunes,
SHJTE
asobu mo and play as well
• (TM shilt' mal:n o lsumrashi Rtslurt fcrtt•rml 1hr waki. OurirlJ lht folrau-int .1grubl passagt su"g by Eht chorus. lht ky6gcn comts out quitlly lhmugh llit half•lifttd curlofo, gon lo lhc kyi>grn Stal. onJ ~ils dou•n. t\:r; lht chorus slarls lo sinx. lht shite makts a hiraki grshrrt toward SIOXt front.)
( Agtulo: au, ym»11gir,J
CHORUS
mi nowaza no sukeru kokoro ni yoritake" no,
as they work, which seems pleasing lo their hearts. they find drifted bamboo-joints,
(Tht waki sils dCJum al lbt waki 5taf.J
sukeru kokoro ni yoritakl' no Saedan Semiore1J samaz.ama ni
pleasing to their hearts they make drifted 9amboo-joints into various types or flutes such as Little Branch,
(Tht shile ~ out slighlly luu:ord slagt f,0111 and mab:s • hiraki Rf$l11rt.)
fue no na wa Broken Cicada. Okeredomu kusakari no fuku (u(' n,11.ab.1. kore mo 0,1. w,1. Aoba no Fue lo oboshimese.
as the names are many for those famous nutes. So the name we gave, "'Green Leaf." should be considered suitable lor the nute grass cutters play.
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Alsumori
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fAs I~ chorus Jints lht (ollou•int p,tJ_SSlltt, lht shitt' gM oul lo lht tyt•fi:ring pillo,.-ond, 1ur11ini around lo h~ 1qt, got'5 lt>lht shile srot, 1llhilt tbt-lsu!T' malt on rxil acrvs.~ lht l,,.-idid
Sumiyoshi no migiwa naraba Komabue:w ni ya arubeki. Ki;,re wa Suma no shioki no
Were we al the shore of Sumiyoshi, the flute or KoguryO should suit us W<"II. Since al Suma inh•t the name "Bumi End" left
(The shite. al tlrr-shitl!' Sft'I. foct1 lcru:iard lht waki.J
ama no Takisashi» lo oboshimese, ama no Takisashi lo oboshimese.
from fishermen's salt-making woods should bE-considered. from fishermen's salt-making woods should be considered.
IThr (ollowins dialtJKut. mlltd kakeai. is c:rdr#n,td bttuottn lht shill' 11nd lht waki. J
WAKI
(4J (X.klGi: """'"· yorn,gi•I
Fushigi ya na. Yo no kusakaritachi wa mina mina kaeritamo ni on-mi ichinin todomaritamO koto nani no yue nite aruyaran.
How strange! The othl"r grass cutlers have- all gone- home, but you are slill hen, by yourself. I wonder why.
SmTE
."tNani no yue to ka yO:nami no" koe o chikara ni kilaritari, ;unen" sazuke owa- shimase.
Why do you ask? Guided by 1he voices calling across the evening waves I have come. Please repeat for me the Holy Name len limes.
WA~I
Yasuki koto jllnen oba sazukem6sube- shi. Sore ni tsuketemo okolo wa ta so.
I shall be glad to repeat the Holy Name ten times. Though I shall do so. I stilt must ask you who you are.
Smn
Makolo wa ware wa Atsumori no yukari no mono nitc.- s6r0 nari ..
To relate-to you the truth, I am really one who wa~ once in close connc.>etion with Lord Atsumori.
WA~I
Yukari to kikeba I hear you are connected; natsukashi ya to you are so dear, he says.
(Witlt lht ros,,ry. lht waki fci14s hi$ honJ in pra11"". I
tanagokoro o awasele namuamidabu
and clasping tight his hands logelher, prays: holy Amida Buddha!
fThtshile. loo. folds hi5 hands i,i pnl'f" as-ht l:nttls-on or:rt kntt: brllh dv,,it lht (ollowint lints fron, 1hr. sulrn.J
SHIT£ AND WAKI
Nyakuga j6butsu"' jippo sekai ncnbutsu shujO ~sshu fosha.
Should I gain enlightenment, through this ten-sphered world. lt'l all thm;.e who call my name be saved from abandonment.
(lb lht chnms 5lorls lo si,r,( fa, lht shill', lht ~hile loob al tht waki ond l0Ultr5 his hand~ from llrt prayr, pnsilion.)
<Au. you111Jittl
CIIOllUS
Sulesaselam6 na yo hitokoe,. dani mo tarinubeki ni mainichi maiya no o-tomurai
"Oh. do nol abandon me." I ask, lhough one call alone would be good enough to save-us. truly daily, ever nighlly you have Said a prayer
( l.oult'tint his fact. lht shil~ ri~ 11nd starts la R" lou-.rd lht shile ~r. I
Ara arigala ya waga na oba m6sazu tote mo ake kure ni
and I am so grateful too, though I have not said
1 my name should be apparent day and night you say
IRdurnint la hi$ (ormn position. lht shi~ Jf'U'SOI IM wakl •,id mows sJ;ghlly forward.)
mukaite ekO the Buddhist holy prayers shitamaeru before the altar sono na wa ware lo for that one-whose name is mine.
fTurning ta hi$ rixhl. llir shit("~ lo lht shilt' StOI.)
ii sutele sugala mo miezu usenikeri,
Wilh those words h~ felt; there his figure. too, is lost and is~ no more.
(Al lht" shit(" $rol. die ~hit(" malts hiraki Joutanl SIii~ {r<tnt as i/lrt blffi' wnislring.J
sugata mo miezu I here his figure. too, is lost u54!'nikeri. and is sren no more.
JThr shiJe malr.c on t:ril quitlly bthind lht cu,toin. J
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Atsumori
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(The kyOg~n, wt0rint • striptd, Im-format ht:arJY silt kimono (dan no:i.himeJ. thr kyi'igen ltro- pirr;e(kyOgen kamishimo). and a waistband(koshiobi}, orul omying a fan (Ogi) in 11is Mnd, comrs out lo lhe namc--saying pillar and inion.rs the following~ pos.qige. J
KYOCEN
I Morrdai: awazu. kaloh:r}
Kayo ni s6r6 mono w;;i Suma no Ura ni sumai suru mono nile SOrO. KyO _wa makariide fune no kayoi o nagame, ko- koro o nagusamebaya lo zonzuru. lya kore ni minaie m6sanu o-s6 no go7..a s0r6 ga. izukata yori o-ide nasare s6r6 zo.
I am a person living by the Bay of Suma. Today I will go oul to watch lhe bo.,ts sailing by and amuse mysel(. (Noticing 11,r waki.J Well, J Stt an unfamiliar Buddhist priest here. Where did you come from?
WAICI
Kore wa miyakogata yori idelaru sO nite soro. On-mi wa kono atari no hito nite watari soro ka.
I come from the capital and I am a Bud- dhist priest. Do you live around this vici.l'!ity?
KYOCEN
Na1canaka kono atari no mono nite 00r6. Yes. I come from this neighborhood.
WAJ:I
SayO nite sOrawaba mazu chik6 onniri s6rae. Tazunetaki koto no s010.
U thal's so, please come closer. I have something I would like to ask you.
KvOCEN
Kashikomatte SOrO. Sate on-lazune na• ; saretaki to wa ikay6 naru go•y6 nile SOrO zo . . ''
Yes. holy priest. (CM$ to the «nlcr cf rl1e stage and 'Sils Joum.l Well, you would like lo ask me something. Whal sort of busi- ness do you have in mind?
WAkl
Omoi mo yoranu ml>shigolo nite SOrae• domo . kono tokom wa Genpei ry6ke no kassen no chimata to uketamawari oyobite sOrOchU ni mo. Heike no kinda- chi Atsumori no hatelamaitaru yOtei go• zonji ni oite wa katatte on-kikase SOrae.
Indeed, this is something you may not expect from. me, but I hear that. among other things, this place was the W'ry battlefield where the lwo houses of lhe Taira and of the Minamolo had fought. Please tell me the story ir you know about the death or Atsumori. a noble o( the Heike clan.
KvOCEN
Kore wa omoi mo yoranu koto o uke• How strange that you should ask me tamawari s6nJ mono kana, Warera mo about such things. Though we live in kono atari ni wa sumai tsukamatsuri this neighborhood, I don't know too
•rworks of lhe N6 Theater
7.0nz.ezu sOrO, sarinagara hajimefe o-m~ ni kakari o-lazunc nasare s6r6 mono o, nan lomo zonzcnu to m6su mo ika nitc s6raeba Oyoso ukctamawarioyo- bitaru tOri on-monogatari m0s6zuru nitt> SOrO.
asked by a person that 1 meet for the first time, ii would not be quite right lo say that I know nothing at all; so I shall tell the story rou~hly the way I've heard ii.
WAKI
Chikagoro nite s6r0. I would be most grateful.
KYOCEN
S,,ru hodo ni Heike wa Juci ninen aki no koro Kiso Yoshinaka ni Miyako o olosare, kono tokoro e utsurilam6 ga. Genji wa Heike o horobosan lo roku• man·yoki o rutale ni wake sayii n6 uchi- yahuri go-ichimon wa chirijiri ni ochi- tamO. N,,ka ni mo Shuri no Tayu Tsunemori no on·ko Mukan no Tayll Alsumori wa gozabune ni noran tote nagisa no kata e onnidc arishi ni Koeda to m6su go-hiz.O no fue o honjin ni wa- surelamO ga. ato nile teki ni toraren kolo o kuchioshiku oboshimeshi. mala honjin ni o-kacri aritc rue o tori nagisa e onnide arishi ni gozabune o hajime hyO- S'l"n domo kotogotolcu oki f> idPmi't~hi s6r6 aida. uma wa tsuyoshi oyogasen lolc uma o umi e uchiiretamO tokoro ni Musashino Kuni no Junin Kumagae JirO Naozanc 6gi o hiraki manekikereba A- tsumori yagate totte kaeshi. namiuchi- giwa nile muzu to kumi -ry6ba ga aida ni d6 lo ochiru. Kumagae wa daig6 no mono nareba sono mama totte osae kubi o kakan to shite uchikabuto o mireba. jtigoroku bakari to miele keshO shile kane kuro-guro lo lsuketamO aida, ap- pare yoki musha kana. Tasukebaya to u:-hiro o mireba, Dohi Kajiwara ., jikki bakari tsuzukitari. Kumagae m6su y6 wa tasukem6shitaku s6raedomo goran no goloku mikata O.tei tsm:ukitari. Ku- magae ga te ni kake onnato nengoro ni lomuraimOsan tote on-kubi kakiotoshi on-shigai o mitatemalsureba koshi no nishiki no fukuro ni rue no goza soro aida. sunawachi laishO no ken1.an ni ire-
Well. It was about autumn o( the second year or the Juei era that the Heike were derealcd at the capital by Kiso Yoshi- naka and the Heike moved to lhis place. The Genji, however. delermined to de- stroy them. Dividing their gallant war• riors six hundred thousand strong into two forces, lhe Genji crushed the Heike right and left, and as the Heike fell. they scattered and dispersed. Among lhem the son of Lord Tsunemori, the vice- minister of the Service Bureau. was Atsumori, who held no office. He went out to the shore to board the roy~I ship. but as. he forgo I his treasured bamboo flute callrd 1.ittlP Rranc-h in the main camp. he was vexed at the thought that later it might fall into the enemy's hands. So he went back to the main camp and recovered it. When he came out to the shore again, the royal ship and those of the soldiers were all out at sea. His steed was strong. He tried to make him !'.Wim but as he spurred him, Kumagae JirO Naozane. who came from the Province of Musashi. opened his fan and beckoned him back wilh it. Soon Atsumori returned ashore. They grasped each olher and down 1hey fell between the horses by the shore. Huge heroic man that Kumagae was. he held Atsumori accordingly and pressed him down, but, looking under the helmet as he was about lo behead him. he saw that Atsumori seemed fifteen or sixteen years old. with his face powdered and his teeth dyed deep black. He seemed
0 ...
Atsumori
~
I\) 0,
, ,.
shi ni makoto ni kabru orifushl fue o mochibm6 kolo wa, kindachi no naka nite mo yasashik.i on•kata nari tole, minamina yoroi no sode o nurashilaru lo mOsu. Sono nochi on•na o lazunuru ni Tsunemori no on•ko Mukan no Tayo Atsumori nitc goza aritant to mOsu. Makoto ya hito no mi>su wa Kumagae wa shukke shite Alsumori no go-bodai o tomurO lo mOsu ga, say6 no mono naraba sono toki lasukemOsOzuru ni, la- sukenu mono naraba kore wa itsuwari nite s6r6beshi. Sono Kumaga~ ga kono tokoro e kitarebshi. Uchikoroshite A- tsumori no kyOyO ni itashitaku to no m6'- shigolo nite SOrO. Mazu warn-a no uke- lamawarioyobitaru wa bku no gotoku nitt goza s6r6 ga. nanto o~him,shi o• lazune nasa~ S0r6 zo. Chikagoro fu. shin ni zonji s0r6.
splendid and gallant. Kumagae wanted to spare him, but as he glanced back there· came galloping Oohi ·and Kaji· wara, followed by some ten othl"r braves. "I would like to spare you," he said. ''but many on my side are coming. as you see. By my hand you must fall. I shall pray most earnestly for you:· So saying. Kumagae beheaded him. As h(" looked al the corpse, there w;is a bam- boo flute _in a brocade bag worn by his hip. Thereupon it was presented lo the general for inspection. CeTlainly in a situation such as this, anyone who still c.arried his bamboo Hute, even among the nobles. was most elegant, they said, and all wet lheir annor's slttves with tean. Later when they investigaled who he was, it was Atsumori who held no office, the son of Lord Tsunemori. Ac- cording to what people say. Kumaiae renounced this world to pray for Atsu- mori's memory; however. if he were such a man. he should have saved Atsu- mori at that time. Since he did not hl" must be a hypocrite. let thal Kurna~ac come to this plact>. and he would be struck down to be offered as a prayer for Atsumori's memory. So they say. Well, this is what ~·ve heard. Please tell me why you ask me about this. Lately I have fell . something strange around here.
WAkl
Nengoro ni on-monogatari soro mono kana. Ima wa nani o ka tsutsumim6su- beki. Kore wa Kumagae no JirO Nao7.ane shukke shi Rense-i to mosu h6shi nite s6r0. Atsumori no go-bodai o tomurai• m6san tame kore made mairite SOl'O yo.
How kind of you to tell me all about lhe story. Now why should I conceal any- thing about myself from you? I am Ku- magae JirO Naozane who renounced this world and is now called Rensei. I have come to this place in order to per• form a holy service for Atsumori's memory.
KYOCEN
Sate wa sono told no Kumagae-dono nite s6r6 ka. Sayo no koto to mo zon- zezu yaji naru monogatari mOShite ,On').
Well. So you're the Kumagat" of that time. Without meaning lo, I'm afraid I've told Atsumori's story. Please forgive
Gomen sOrae. Sate zen ni tsuyoki wa aku nimo lsuyoshi to mOSu ga katagata no kolo ni s0r6beshi. Yaya Atsumori no onnalo on-tomurai arekashi to zonji soro.
me. Well. as the saying goes. "He who is strong for good deeds is strong for bad ones." That is the warrior. 1 hope you say some holy Buddha's prayers for Alsumori.
WAttl
lya iya kurushikarazu soro. Kono to- koro e kitari sOn) mo Atsumori no on- nalo lomuraim6san tame nite s6r6 aida. ?-hibaraku 16ryU mOshi yaya arigataki on-kyi> o dokuju shi kano on-nato o nengoro ni tomuraimOSOzuru nite s6r0.
No, no. I am nor ofrended. I do not mind all this. The rea..-.on I came lo this place is that I wanted most earnestly lo say some holy prayers for Alsumori's memory. I will stay here for a whil~ and with the recitation of sutra, I would like to hold a holy service.
KYOGEN
Say6 nile s6rawaba o-yado o m0s6zuru If that is so, may I offer you lodgings. nil<" SOl"O.
WAkt
Tanomi s,;robeshi. Thal is kind of you. Thank you.
KYOcEN
Kokoroe ml>shile som. Not al alt, good priest.
PART 11
(Afln- lhr lr,1trl11df'. •I lht waki ~,. tltt waki JirtjS lllt follotoint •tcuta 11tnt. a,llttl machiulai. "u,a;li,,i $img."I ·
WAkl
Isl (Macltiulai:itll; yor,uiinl Kore ni lsuketemo tomurai no. kore ni tsukelemo tomurai no h6ji o nashite yomosugara nenbutsu mOshi Atsumori no bodai o nao mo tomurawan, bodai o nao mo tomurawan.
For this connection let me say a holy prayer. for this connection let me say a holy prayer and lhe Buddhist service too let me hold nighllang calling out Amida's na~ for Atsumori that his soul may find tnle rest as I pray still more. thal his soul may find true re-st as I pray still more.
0 J.I)
~
I\) (J)
black IDft (kuro tare};" loll block ctp (nuhiuchi ebo5hiJ; a "long silk.··,~. unlinnl, broad-slcntt:d oultr n,bt (chclkml; • whit,: Midband (shiro hachimaki};a colfAr in whitt' artd ml Ceri shiro aka}; o "thick bo:rnl .. MJVY ,ilk limono (alsuitaJ; 1t whilt: broad dividtd skirt Cshiro OguchiJ; a b,a,i5,ll,and (koshiobi);• /•" (6gi};a,td a '°"t $UIOrd (lachiJ. tnl~ IM stagtaJtd slands at tlit shite ~al. whrr<, (aci"g slagc frorrt. ht: sinxs lht: follJ1Wing ~.]
SmTE
(6) !Au, Y"""'tin)
Awajigata 41
kayo chidori no koe kikeba nezame mo Suma no..i sekimori wa ta so.
On Awaji~bar I hear lhe plovers· voices passing back and forth. Wakeful, too. from sleep nightlong who is he like Suma·s guard?
(During lht following ,:.mlln,ft' bttw«n lh,: wa.kl and 1h,: shite. adltd rh,: kakeai, 1hr shile stand5, ol llr,: shile snf, whil,: lht w.akl sift ,r 1hr w.aki sail. Tht shlle, facing lht: waki, ~11ishts lh,: rr.cl of ,,., .,,,.,,, , (Kdoli: nwiu, yowagird
Jlca ni Rensei Atsumori koso mairite sOrae.
Listen now* Rensei. here is Atsumori who has come before you now.
WAKI
Fushigi ya na fushO o narashi hOji o nashile madoromu hima mo nilki tokoro ni Atsumori no kilaritam6 zo ya. Sate wa yume nite aruyaran.
Oh, how strange this seems! As I tap the gong I hold a holy Ouddhi5t service when I have no time to spare for a moment's dozing, Atsumori came, or it so appeared and surely this. I thought. was but a dream. Am I dttaming still?
5HJTB
Nani shi ni yume nite arubeki zo. Utsu- tsu no inga o harasan tame ni kore made araware kitarHari.
Why must it be a dream? It is lo atone for the sins of my life lhat l come here before you in a visible form.
WAKI
the N6 Theater
Utate na ya. lchinen Midabutsu u sokumetsu muryo no 7.aisho o harasan
sh6m6 no hoji o laesez.u
What a foolish thinA to say! Wilh one clear call of Mida's name at once the guilt of all your sins, counlless though they be, is clean~d
away; ttaselcssly I hold in the Holy Name the service,
··r·~
nani no inga wa arisoumi4-1 no
what ka~a can still remain crag-bound like the ocean
StnTE
fokaki"' tsumi o mo toiukame
fathomless my s;ns may be should I still be saved?
WAJCI
mi wa jObutsu no tokudalsu no en.
Yes, by prayer I hope it serves for my own salvation too,
Smn
Kore mala tashO no as this is Dharma's power kuriki nareba on our next exislence
WAJU
higoro wa kataki so the long•lime enemy
S.1rrE
ima wa mala of the past shall now
WAKI
makoto ni nori no once again become a friend
Sum
tomo narikeri. by Amida's mercy.
{Th,: shil~ makes a lsumeashi g~rurt tuward tlr,: waki.J
CHOR.US
(Au, yowagin)
Kore ka ya In the saying
fThe shi~ makts a hiraki g,:stur,: toward ~lagt front.) akunin no tomo o (urisutete
that .. one should leave his friend if he's evil;
{Wilh his lrfl hand lht shile poinr~ lo lht waki and. wltilt moving (onoard orul flipping his ltfl sltt-w. loob or the waki.l
-ze,nnin no kataki o maneke to wa, on-mi no koto ka arigata ya. Arigalashi,
ir the foes are good, bid them welcome.·· you're indeed the wool of the very words just said! How truly grateful! I am so gralefol.
0 45
At1umori
~
I\) ---.J
• 6
fO.ntinr his mood, f~ shite ps •round to his left IOUM1rd I~ shite srat.1
arigatashi. Totemo sange no monogatari yosugara iza ya mOsan, yosugara iza ya mOsan.
I am so grateful. Now I wish I could relate all of my story to you in this. conression throughout the night. to you in this confession throughoul lhe night.
IA.I Iii<' shile ,a,I, tiff! shite fitcr, IOfllltnl tM w,1ki. Thtn. from in front of 1hr musicians. 1hr shite f.«' oul toward «:ntu slott •nd sits on 1hr sloal providtd by thr slagr altrndanl as thr d1orus r;:inis tlrr following pdSSO~. a,lkd kuri.J
(7} (Kuri: awo:r:u. yr,wcttinJ
So~ haru no hana .. no jutO ni noboru wa jOgu bodai no kiosusume aki no tsuki no suitei ni shizumu wa geke shujo no katachi o misu.
All the Oowers in the springtime rising toward the treetops higher lih us and inspire us all lo true salvation, and the moon at autumn shines across the water on its bed to reveal its form to save all the lowly beings,
I Whilr oil sir, 1hr shile siffJS tM following s.ashi p,tSS-Jt in fnr-rlryrhm yowagin slyl,., J
SHITE
($,,shi: OIOll'ZU. yoa,afinJ
Shikaru ni ichimon kadoonarabe ruiyOeda o tsuraneshi yosooi
yet in spite or this the Heike lined lheir mansions· gateways. nourished like a mighty tree intertwines its leafy branches.
CHORUS
makoto ni kinka ichijitsu "' no ei ni onaji, yoki o susumuru oshie ni wa O koto kataki • ishi nohi no hikari no roa zo to omowar.arishi mi no narawashi koso hakanakere.
As th<! morning glory blooms only for a day wilh its glowing splendor, so the law that glorilied good and teaches men did not realize its goal for a moment brief like Rintstone's spark for we were all thoughtless, hampered by a«ustomed habits in this fleeting world.
SmTE
Kami ni atte wa shimo o nayamashi
From on high, the mighty look on the low whom they oppress,
CHORUS·
tondr wa ogori o shirazaru nari.
As they prosper. rich and haughty .they grow and know no end.
!Thr shite riStS from thr 5foot and d1111as, ptriodialty malinJ •l'J'f11Prialr gtstu,r.;, d11ri111 thr fol- lowing kuSC' prm.agrs ~""K by thr charus irr ~rict•rlrylhm yowaiin st.vlr. I
(Ku5": au. yo1n1.~irt1
Shikaru ni Heike On the other hand. inde-ed, yo o lotle here the Heike nijUyonen ruled thi~ world for twenty makoto ni years and longer. hitomukashi"' no but a generation suguru wa yume no passes only like a span uchinare ya. of a dream we dream.
(Thr shile adt.ocrucn slighll_y faru:,ard louiord $lagr front.J
Juf'i no In Juei aki no ha no as the autumn leaves yomo no arashi ni are all tossed before the storm.
(Poirrlint r,,,.. fan around, 1hr shit(' Joolc lol1is right.I
sasoware chirijiri ni nan, ichiyO no fune ni uki
raging fiercely scattering and scattering like a single leaf noating in a boat
fTI!r shite mnkts • 5.1yU g~lurc. imli01tins • $lop.)
nami ni rushite yume ni dani mo kaerazu.
(Tht shile Jrtr$ Dllf'lau:JG'rd 1hr tyt-fi:rint pilLrr.J
R6ch0no" kumoo koi. kigan tsura o midaru naru.
upon the waves ~ slept dreaming. ne~r turning even homeward,
like the caged birds longing for th,e clouds and retuming columned gttSe left astray behind
f Lookin.t at,,,,.. sly. 1hr shilC! turns in II ln,gr11rc lo his ltfl.J sora sadamenaki tabigoromo hi mo'' kasanarite toshitsuki no tachikaeru haru no koro
in the skin u"settled still dressed in t~veling robes days that piled on days we found months turned into years. ending to return with the spring again
lfwm tht front c,( llwcliorus !ht 5-hitc:-~ fo,...rd fou,onl cnrlrr sl~V-1
kono lchi no Tani ni komoritl"
in the First Ravine we-sheltne,d in seclusion
0 '-17
Atcnfftnf'i
·~ f\.) co '
shib;ishi w11 koko ni Suma" no Ura.
for a little while and Jived by the Suma Bay.
(Tht shill! optns tht f,m. makts •11 agf'Ogi ftSlurt, •nd sinis lht follawing fltTSt, called ageh,1. J
u,,,.,, Srnn Ushiro no Roaring downward yamabze from be-hind us lukiochite comes the mountain blast,
(Wilh •n 6.z.ayU JltSIUrt. thr shit~ gar, oul .lOwtlrd stage front as Ilk-chants !f.in~ thr rtst of the kuse ,.. .... ,,.1
CK111t: ,u. you,ogiriJ Ct10RUS
nomosuberu umigiwani lune no yoru to naku 9 hiru to n;ikj chidori no koe mo
IUI the fields turned fro•ty too by the- ocean shore whe-re our boats were afloat at hand, day and night throughout came the plovers' crying too
(Al slatr {ronl 1he shill' flips up his ltft sl«w. •""· usinK ii for a pillow. Ire sirs duwn.)
waga sod~ mo dam~ned with sea spray, nami ni shioruru like the beach~ slept upon. isomakura, are our slec>ves with tears. ama no In the huts
11hr shile ~ •nd gacr oul toward the ,ye-Jizing pill•r: Ihm. turnint IO his left, he J(lt'S to thr ~hilt> ,,.,.1 tomaya ni tomone shite Sumabito"' ni nomi
of the fi,hers. -close with them we slept and were used to Suma folks.
IRais:1111 the fon "P• 1hr shitc pa out torwnl st• {ronl from tltt dumu front. ltoldJ lltt fan out hori:ontally, and fold~ ii.)
sonaremat:,u no wind~mbraced like shore•pines latsuru ya twisling upward )'Ukemuri rose lhe evening smoke, shiba to yU"' mono fed by what they called brushwood orishikitc which we broke and lay, omoi o Suma no lhinking of this Suma•lifo
ll'oinling u,,_rd !Viti, his fan, hrloob "'1ow lo his right.)
-work• of lht' NO Tht'llt-r
n~--
, ....... ~,v ""
kalcaru tokoro ni sumai shite
., 111c vnld!!;r•uwu
in a mounlain such as this ~ endured our days.
(Going around in a large arr lo his left. lite shlte procmlJ lawn/ cliorusf,unt.(
Sumabito ni and became at last narihatsuru like those Suma folks:
I In front of 1hr chorus tltt shilt' malts a saytl grsfu.r and ~11ishes lht danctlill mot!lffflt'11t. os tht chorus roncludrs the kusc prusage.1
ichimon no hale zo kanashiki.
thus our clan has raced its ending lamentably.
f During lhe fallowing prusogt erchangtd hthawn 11,t shitc •"' llrt waki, a,lltd bkeai. fM shite stands in fronl of tM hand-drum players. •nd ll1t waki. al fltt waki snl. Thr prrM po5SORf' is inlonrd by the shite.J
SHITI
f8J (l<Al:roi: awo:tu. tsuyoginl Sate mo Kisaragi muika no yo ni mo narishikaba. oya nite S0r6 Tsunemori warera o alsume imay6 o utai maiasobi• shi ni.
Then it was around: the sixth day of the- second month. My: father. T sunemori. called us all together. And we sang mod- em ballad• as we danced and played.
WA.Kl
Sate-wa sono yo no onnasobi narikeri. Jo no uchi ni sa mo omoshiroki fue none no yosete ·no jin made kikoe-shi wa
That was how it happened lhen in the night you held your (ea~t. uf~ within your stronghold; notes of joyous lyric; songs of lht Huie were hrard nen at the camped p0sition of your enemy.
Smn
Sore koso sashimo Atsumori ga saigo m;ade mochishi (uetake no
Yes. indeed, that was until tht" final mo- ment Atsumori kept the bamboo flute,
w ... ne mo hito(ushi o playing such a melody. ulaiasobu singing, too. enjoying
Smtt
imayO" roei modem ballads, chanting w-rse~
WAKI
koegoe ni line by line aloud
0 ...
Atsumori
~
I\) co
(Tumin! ro his righl. th( shit~ gon: IC7Wllrd tht-shit~ Sffll and srarls dancing fl~ tl1t chorus sing~ lhe follc,wing issei vtrSt.f
(lssci: a-wazu. tsuyagir,J
CHORUS
hyoshi o soroe koe o age
keeping time in uni!Kln we raised our voices.
(Th, shite doncn lo tht hayashi rrrusk. Tliis dancr should l,r pnfOTrntrl i,ungorafir,gly in four etr {ttlf' mavrmcnfs.)
Cho no mai
(A.fin tht dlrncr. lht shile mabs •n ageOgi icsturrand sinzs the fnllrnuir,g lines.J
SHITE
(91 Uwazu. tsuyogin)
saru hodo ni Sometime afterward, mi-fune o hajimete firsl the royal barge was launched
(The shile stamP5 IM floor.rs lht chunu sinp lht following pas..,;ogr. J
CHORUS
(Norip: &tori, tnyogin]
ichimon mlnamina and a, all the mighty clansmen
;,IP,frtfinr outruml a,ifh l,i, f•n and turning la Iris righl, tht shit~ ~«s out lt1W11rd $111ge fuml frorrr · • shite x-1. J
foM ni ubmeba noriokun:ji to
had put out their boats to sea, shouting loud, "We will nol be
migiwa ni uchiyottba gozabune mo hyOsen mo
left ~hind," and Atsumori rushed to the shore~ bul all the soldiers' boals
(A.I sf•~fro,tt. rMshite md.esokumono6gi gtslurra"dloob inlothrdi$1ancr.l
haruka ni nobit.amO. and royal barge had ncd (ar out to sea.
ITht shile sings tht foll0toin1 in frtt-rlt,ythm tsuyogin stylt as ht rtlnols lo the shile ~,.)
C Awou,. tsuyogin)
SHIT£
Se-nkaia nami ni" Left so helplessly behind koma o hikae aigainsl the surging waves
f Tht shit• makts II yiikefl irsti1rt wit It hi$ ft", indiallinl his (ttli"K•I akirehatetaru Atsumorl held his steed, arisama nari. overwhelml"d complclcly
(TM shile ps out towaril wa.ki front: 1hr chorus si"is lht follm11inJt tY"~. f
(Cl11irmri. t5uyogin)
C11oaus
Kakarikeru tokoro ni
in a circumstance like this. Meanwhile,
ITht shit(' IIIOQ hick toward I~ rurtain 'Ind xan f('tfU.11t1rd to the shile ststt. as if lo wrkome Iris {ot, as thr choru$ sil1JC5 ll1r follmuin:< /inrs.J
ushiro yori Kumagae no JirO Naozane nogasaji to oikaki:tari.
from be-hind there came brave Kumagae Jil"O Naozane, bent on his capture. chasing aftet' him.
fTurning lo 1:is lr(I os if lo pult on lht rt'ins. th, shire ps ro rlw shile 581.J Alsumori mo uma hikikaeshi
Atsumori. too whee~ his slffd and tumed ashore
nami no through the!waves ' f Dratui11g hi5 snlf'lrd. thr shile JCot'S 011I lau111rd 5togr front •nd 5tri~ his {ot.J
uchimono' nuile thal came pounding back and forth (ulauchi he drew his'sword miuchi wa and twice ot" thrice utsu z.o to .mieshi ga he-seemed tf strike the enemy.
f WJ,i/e lht wald •nd ,,,,. shile art locktd in comfllr. IM shile. 111,tring fad- lo his lt(I. kn«ls cm cmt krrtT".)
uma no ue nite hikkunde namiuchigiw°' ni ochikasanatte tsui ni utarete useshi mino
t Looking avtr al lht waki, 1hr shilf" rists. J
and on th•i~ stttds they grappled. one another, then !ailing by the surf-rushod shore droppod atop each other hard. and al last, I slain and vanquished. on the Wheel of Fate
inga wa that ner turns meguriaitari" he returns to mttt with you.
{Ufting up lht!;Uiord. tlstshlle-fotS inf,onlo{llww•ki.J
kataki wa kore zo to .. My enemy is here.'' hr shouls utan to suna ni as he's abo~t lo strike him:
I Rdrtot!- la posilian in fronl of th, ,,.nl-drvm ployrrs. J ada obi on nile "Evil I'll repay with good," h6ji 11111 no for th, prayers
I Knr,:linJe. tl1r shil~ 1urmi: oround «nd {am slogt frt,nl.J
ntnbulsu shi you have said for me lomurawarureba calling on Amida's name,
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Alsumori
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lsui ni wa tomo ni mumarubeki onaji hachisu no
so at lasl WC' surC'IB.f 1 shall be born agai~ on the same swttt lotus seat.
f.As llir shilr rim. lw Jtlt1f oul lm,>1t1rd lhe eye-Jirint pillar. and, lurninx fo his ri1ht. hr gotS' to 1hr shilf' $,t'GI. f
Rensei hDshi" kalaki nile wa nakarikeri
Rensei. truly named you are no mortal foe anymore, oh, priesl,
fThrctvi"K daurn hi, sword. 1hr shitr dosp, his hands in praytr.J
ato tomuraite who says thf' holy prayt>rs tabitamae. for my memory.
(Turnint rOW11rd waki {rtMI. 1hr shitr malts a lorM stomp.I
ato tomuraite oh, say tht> holy prayers tabitamae. for my memory.
Maslnworks of lhf' N~ Thf'.;llltt
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Tadanori Introduction One of the most atlradive figures among the Genpei warriors for N6 playwrights is, indeed, Tadanori. as Zeami selected him for this slrura piece, which belongs to Group II of NO plays. There aff', among other factors, two good reasons for Zeami lo do so: namely. Tadanori was a noted poet and equally renowned for his valor as a great general of the Heike clan. The fact thal the Heike were defealed in war adds to lhe story an acute sense of sadnns. tinged with an air of mutability. Moreover. the famous ninth ch.tpler or T/,r Talr of 1hr Hrikr' b highly pr•i~ for it$ IHtrairy excelJ.enc:e, which Z..~1111 wot<I 4, II P"'l'klinl Ille v,ry l'{ll!lf f~flis CllllVi<llan, which he slated in his •111, 1nllll1d "Qn N'4 ComposiOon": ' • image of th• warrior. If, for instance. your source is about a famous captain o the Genji or the Heike, lake special care lo wrile as it is told in the Tai~ of IM Hfllct."J As a play- wright. he sc-ems to have had great confidence in this piece. for he dictated in the "Sarugakudangi": "Michimori, Tad,mori, Yoshilsu~. these three numbers are good N6 for the shura style." This opinion is reitttated by Zenchiku (1405-72) in his "KabuzuinOki": '"Satsuma no Kami Tr,danori has the Deeply Hidden Style and the YUgtn Slyle." He also considered it as the representatiff piece among lhe Group 11 plays.
Since Tadanori excelled in the arts of both poetry and arms. 2.eami emphasizes his ties lo poetry in this play rather than the-agonies he suffe-red in the Ashura World. Among the attachments that continue to bind him to the temporal world. the strongest is the-fate of his poem •·on the Flowers al my Native Place .. :
Though lhf' capilal , al ripplt'-lapping Shiga i lits in ruined was1e, the mountain cherry blossoms art 1h, same as long ago'.
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THE KYOQEN BOOK An Anthology of Japanese Classical Comedies
Compiled by Don Kenny
The.lapanlimes Tokyo, Japan
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The Cowardly Bandits
( Fumi Yamadachi)
Two bandits quarrel and decide to fight 10 1he dc>1h. but since there i$ no on<" 10 wirncss their brave haulc. 1hcy decide: to make up and go back home together.
Ca1t of Character.,
Spearman Bowman
( Shite) (Ado)
(The SPEARMAN and the BOWMAN come rrmning on with their weapom at the ready.)
BOWMAN: I'll catch you yec, I'll catch you yec1 SPEARMAN: Get him, get him! BOWMAN: I'll catch you yet. I'll catch you yer' SPEARMAN: Gee him, gee him! BOWMAN: I'll catch you ye,, I'll catch you yet! (They .rtop and
lower their weapom.) SPEARMAN: Did you get him? BOWMAN:. I gm him. SPEARMAN: What do you mean you "got him"? BOWMAN: You said. "Get him, get him!" so I let him get away. SPEARMAN: Know you not the bandit watchword> Saying "get
him" means to gee (Pointing lo hiJ own neck.) him righ1 here. BOWMAN: If that _is what you meant, that is what you should have
said. You said, "Gee him, get him'" so I thought he was your friend, and let him get away.
SPEARMAN: I must say you are a coward.
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The: Cow:1rdly B:mditll ( hum ) ".1111.11/.1.,Ji, l 7 /
IIOWMAN: Why du you s:iy 1ha1? SPEARMAN: When a new warrior priest ;went by a while ago and I
said, "Get him, get him!" you let him get away 100. noWMAN: Warrior priests have conrh horns, and when they hlow
thc:m. d1tir friends nmu: 10 ht·lp. Wi1h !-mh ;1 ,nowd. we would have no chance to win. That is why I le, him get away. But what has that to do with this>
SPEAKMAN: Well, there you arc. Call you not that cowardly> BOWMAN: You have no right to talk that way. Why, working
with you, I've never made a single gain. I hereby swear by the mighty war god Hachiman, (Throwing hir how and arrow to the ground.) I'll have nothing more to do wich you!
SPEARMAN: ls this swearing by the mighty war god Hachiman, and this throwing away of your bow and arrow meant as an in- sult co me>
BOWMAN: If you take ic as an insult, an insult it is indeed. SPEARMAN: Working with you, I've also never made a gain.
hereby swear by the Buddhas on Mounts Acago and Shira, (Throwing hiJ ,pear to the ground.) I'll have nothing more to do with you.
BOWMAN: Is this swearing by the Buddhas on Mounts Atago and Shira, and chis throwing away of your spear meant as a return of my compliment?
SPEARMAN: If you take it a.< a return compliment. a return com- pliment it is indeed'
BOWMAN: I've had all I'm going to take! SPEARMAN: You. hateful rascal! (They grab each other by the
throat and begin xrappling, pu.rhing each other hack and forth.)
BOTH: liya' liya! BOWMAN: (Looking back over hi! 1houlder.) Aah 1 Wait. wait'
(They Jtop.) SPEARMAN: Wait for what> BOWMAN: Behind me is a bramble patch. SPEARMAN: A bramble patch can be painful. Come this way. BOWMAN: With all my heart. (They move to the center of the
1tage and begin grappling again.)
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72 The Cowardly Bandi1s ( F,un, Y11mad11,hi)
BOTH: liya! liya! SPEARMAN: (looking back over hi11houlder.) Aah 1 Wait. wait1 BOWMAN: Wait for what? SPEARMAN: Behind me is a cliff. BOWMAN: A diff can be dangerous. Comt this w;iy. SPEARMAN: With all my heart. (They move to the center ,md
begin grappling again.) BOTil: liya1 liya! SPEARMAN: Wait. wait! BOWMAN: Wait for what? (They 1top.) SPEARMAN: If Jlf'Oplc were to sec us grappling like this. they
would think us brave and praise us highly. BOWMAN: I wish there was someone to watch. SPEARMAN: Today nobody is about. What do you think> Dying
with no one to watch is as meaningless as the death of a dog. Let us first write a message and die after thar.
BOWMAN: That is a fine idea. But. first. how arc we to get these arms of ours loose?
SPEARMAN: What shall we do? Oh. I know what we can do. We call say. "Now! Now!" and let loose on the third "Now.··
BOWMAN: That is a fine idea. SPEARMAN: Wdl then . . . BOTil: Now! Now! Now! (They both leap away and grab the hilt1
of their 1word1.) BOWMAN: You won't catch me off guard' SPEARMAN: Nor will you catch me off guard! BOWMAN: Now how do we get (looking at hi1 hand 011 hit 1word
hilt.) these hands loose? SPEARMAN: Let's let loose again on the third "Now." BOWMAN: That is a fine idea. BOTil: Now! Now! Now! (They releau their ha11d1 from their
nuords t111d sit i11 a relaxed position.) SPEARMAN: Ah. this feels better. BOWMAN: Indeed it docs. SPEARMAN:
BOWMAN: Well now. have you any writing tools?
No. I have nothing of the son. SPEARMAN: I brought a set along to write down our shares in rasc
1-1u• tnw:udl~· f\:mdit~ ( F1om \ 0J111.1r/J,·l1, l 7.t
we.: 1:1k<· somt· hon1y. (/-Ir 1t1k.r.r 011/ hru.rh and /"'prr and prepareJ to wn·te.)
IIOWMAN: You arc most prudent, indeed. SPl'ARMAN: I will do the writing. you give me the words. II< )WM,\N: Whirh words would ))(· ht·s1. I wu1ukr? SPEARMAN: Just which would he best? HOWMAN: Begin with. "Suffer me to pen thee a simple thoui:h1
or lwo. SPEARMAN: Such a stiff style will hardly serve our turn. BOWMAN: If that is too stiff for you. write. "This is just a line to
tell you how I feel." SPEARMAN: How foolish you arc. Leave the style to me. BOWMAN: With all my heart. (The SPEARMAN begin1 to write.) BOWMAN: Oh. he's writing. he's writing! His hand has improv•
ed. it seems. and his brush 0ies swiftly. SPEARMAN: Now it's written. TIOWMAN: Is it written so soon? SPEARMAN: Listen while I read it. BOWMAN: With all my heart. SPF.ARMAN: "Let it be known. This morning we departed, as our
custom is. At banditry we failed. taking nothing from no one. Our tempers snapped at length. Give in we neither can. nor let each other go. Before we stop to think. our hands upon our swords ... "
TIOWMAN: (Grabbing the h11t of his sword. ready to fi1:ht.) You won't catch me off guard!
SPEARMAN: (Dropping the mes1age a11d grabhi11g his sword hilt.) What arc you up 10?
BOWMAN: You said. "Our hands upon our swords." and you won't catch me off guard.
SPEARMAN: (Picking up the me11age.) This is a letter. HOWMAN: (Relaxing.) If it's a letter, you should say it's a letter.
What a fright you gave me1
SPEARMAN: The rest I have written in verse. Come here. :md we'll read it together.
IIOWMAN: With all my heart. (The BOWMAN come1 to read over the SPEARMAN's 1houlder.) ,
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/'I I he: L,owardly Handi1s ( F11m1 l"amadarhi)
SPEARMAN: (Chanting.) Our hands upon our swords.
BOTH: (Singing.) We take a stance. a fighting stance. To tell all the people far and nc,r How nobly. how bravt:ly we will die. We hereby write for all to read. Whoever they be. Wricing we recall how sad our loved ones wi II be. left alone to sigh and weep Without us. our wives. And our children. how sadly They will surely cry! Oh, just thinking of them, We weep in pity. (They weep with both hand, lo their
eyer.) SPEARMAN: Knowing not what has passed between us. our wives
and children are eagerly awaiting ouc return. BOWMAN: As it is near the time we usually return. they have
heated water for us, in which to wash our feet. and are eagerly awaiting our return.
SPEARMAN: I am host for the next Ise Club meeting. If it can be done, I wish to die after that.
BOWMAN: I promised friends an evening of conversation. If it can be done. I wish to die after that.
SPEARMAN: No one knows what has passed between us here. If you and I forgive each other. all will end with us. Shall we not each other pardon?
BOWMAN: I do not wish to die either. If it can be done. I beg you to forgive me.
SPEARMAN: If that is the case, let us be friends once more. BOWMAN: What's that? You say we can be friends once more'' SPEARMAN: Most certainly.
(Both lower their hand, from their eye,.) BOWMAN: Oh. how happy I am! Heaven has granted us life. SPEARMAN: Upon such an occasion, it is proper to sing a song of
Joy.
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Tiu: Cnw:uclly l\:nulib ( 1:111111 \".m1.1,l.1d,, l 7S
BOWMAN: Thai is ;.1 line itlt·;1. SPEARMAN: (Singing.) Finding. at this pl,ace and time.
Death to be absurd . . . ! 11on1: (.fo,,:i11.~ tn,:cthr.r am/ dancing.)
Fin<lin~. ;ll this pbrc ,md time. Death to be absurd. We. between the cwo of us, Pacifying our hearts, Prudently we go. Behaving with moderation. Reconsidering. Hand in hand we go our way. Back to home and loved ones. Finding the death of a dog To be absurd. Hand in hand we go our way. Back to home and loved ones.
SPEARMAN: (Speaking.) Now. it's me with you . BOWMAN: And me with you ... SPEARMAN: Five hundred eighty years . . . BOWMAN: Seven times ·round.· .. SPEARMAN: So wc,11 know joy indeed! Come let's be on our way'
( They join hand, and Jet out for home.) BOWMAN: With all my heart. with all my heart! SPEARMAN: Come with me' Oh. come with me! BOWMAN: With all my heart. wich all my heart! SPEARMAN: Come with me! Oh. come with me! BOWMAN: With all my heart, wich all my heart!
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I 14 T ..,o in Ont H2bm2 ( F111,m·-Ri11t.am4)
Nonhern Saga is where you should go. Northern Saga has dancers 1hat wear Wide wicker hats pulled right Down over their cars. Also their dances arc very amusing. Yoshino's Hatsusc has blossoms most lovely. And maple leaves of red. Bu, more than these. I must sec The only one I love. From place to place We will travel together. After which we head for home. If you complain, Nurse will bear you on her back. (During the last four line, of the above, TARO KAJA diJcover1 that the back of the hakama of the SON-IN-LAW and the FATHER are miuing. He point1 thiJ out to the FATHER-IN-LAW who 1tops dancing to have a look.)
FATHER-IN-LAW: I say, I say! The backs of both your hakama arc missing. (He laugh,.)
SON-IN-LAW ond FATHER: (Throwing their hakama over their 1houlderr.) Oh. how embarrassing! (They begin to run off.)
FATHER-IN-LAW: Oh, wait, I S11y! It does not matter. SON-IN-LAW and FATHER: Oh. forgive us. Please forgive us. FATIIER-IN-LAW: Wait a minute' Wait. I say1
FATHER: Come. come! Let us be on our way. SON-IN-LAW: With all my hean! With all my heart!.
The Rooster Son-in-Law
( Niwatori Muko)
A son-in-law is duped imo believing 1hat the proper w:iy to carry out the first ceremonial visi1 m onc-'s fathcr-in'.law is to dress and >ct like a rooster. and his father-in-law ~oes along with the ruse in order not to embarrass him.
Cast of Character1
Son-in-Law Father-in-Law Taro Kaja Teacher
( Shite) (Ado) (Second Ado) (Third Ado)
FATHER-IN-LAW: I am a resident of this neighborhood. As today is a most auspicious day. I expect a,visir from my new son•in-law. I will call my servant Taro Kaja and order him to make ready. Taro Kaja. arc you there? '
TARO KAJA: Here. FATIIER-IN•LAW: There you arc. TARO KAJA: At your service. Sir. FATHER-IN-LAW:. The matrer I have called you here about is of no
great import. As today is a most'auspicious day, I expect a visit from my new son-in-law. Have you made ready as I ordered?
TARO KAJA: I have made ready indeed. FATHER-IN-LAW: Let me know as soon as my son-in-law arrives. TARO KAJA: As you S11y. Sir. FAlliER-IN-LAW: Ei!
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TARO KAJA: Ha! (They sit lo wail.)
SON-IN-LAW: I am the new son-in-law. much beloved or my father-in-law. As today is a most auspicious day. I have decided to m:1kc my n:rcmoni:al first visit In my b1hcr-in-bw. I havt· heard that the protocol for this ceremony is most complicated and difficult. Well now. Someone (name of the actor playing the TEACHER) lives near here. He is most wise in such things. I will drop by his place to learn the proper protocol. Then I will go make my ceremonial firsr visit. Truly. I hope he is at home. for I am certain if he is. all I need do is ask. and he will teach me all I need ro know. Well, here I am already. First I will an- nounce myself. Hello in there! ls anybody home?
TEACHER: Well. someone is at the door! Who is there? SON-IN-LAW: It is I! TEACHER: Oh. it is you! Well, I must say. you are in fine attire. SON-IN-LAW: Do I look all right? TEACHER: In all the times you have come here. I have never seen
you. dressed so fine. SON-IN-LAW: You have a discerning eye. I am on my way today 10
make my ceremonial first visit to my new father-in-law. TEACHER: What is this? Your ceremonial first visit? SON-IN-LJ\W: Most certainly. TEACHER: Well. I must say, this is a happy occasion. If I had
known sooner, I could have gathered an entourage for you. but I knew nothing about it at all.
SON-lN-LJ\W: Of course. you knew nothing about it. as I just decided today to do it.
TEACHER: Tell me if you need anything done. SON-IN-LJ\W: I do have a most urgent request. TEACHER: What is it? SON-IN-LAW: I heard that the ceremo·nial first visit protocol is
most complicated and difficult. As I have never made such a visit before, and as you have made them time and again. you likely have abundant knowledge of such things. I request that you teach me the proper protocol.
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TEACHER: Well. I must say. what impossible things you say! When have I made the ccrcmnni:tl first visi1 "time :md ;1gain"?
SON-IN-LAW: Why. whenever I meet you on the street and ask where you are going. do you 001 always reply that you are on your way 10 your father-in-law's placc?
TEAU 11.:R: Those have always been times when I was on my w:1y 10 visit my fathct-in-law 10 celebrate some festival day or other. No one ever makes the ceremonial first visit to his father-in-law but once- in a lifetime.
SON-IN-I.AW: Ha ... You say no one ever makes the ceremonial first visit 10 his father-in-law but once in a liretime>
TEACHER: Most cen~inly. SON-IN-LAW: In that case. I have made a most foolish mistake. I
thought that you were to make the ceremonial first visit every time you went to your father-in-law's place.
TEACHER: That is understandable as yo\J did 001 know the truth or the matter. So now you say you want 10 learn the proper protocol?
SON-IN-LAW: Please teach it to me. TEACHER: One docs not keep such complicated things memoriz-
ed by heart. I wrote it all down so~ewhcrc on the edge or something or other. Wait right hcrc:whilc I go look for i1.
SON-IN-LJ\W: With all my heart. TEACHER: (Aride.) What is this? There arc most certainly foolish
people in this world. He has come asking to be taught the pro- rocol for the ceremonial first visit. I'll just give him a good rib- bing and make him the laughing stock of the town. (To the SON-IN-LA w.) I say. I say! Arc you still here?
SON-IN-LAW: I am still here. TEACHER: Well. I found it and it says there are three types of pro-
tocol-that of the ancient past. that of the near past, and that of the presen1. Which do you wish 10 learn?
SON-IN-LA w: It seems the ancient past would be much too old. and even the near past is. after all. the past. Thus as eveyone is always going on about how things s,hould be of the present. please teach me the present style. ,
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118 The Roos1<r Son-in-1.,,w ( Niw4ton· Muko)
TEACHER: It appears that marriage has served to endow you wi1h discretion. The present style protocol is the simplest of the three. 1 will teach it to you.
SON-IN.LAW: I am most grateful. TEACHER: Well then. have you ever kept roosters? SON-IN-LAW: I kept some when I was younger. TEACHER: In that case, there is no need for concern. When you
get to your father-in-law's house. all you need do is crow and kick like a fighting rooster.
SON-IN-LAW: Ha ... You say all I need do is go ro my farhcr-in- law's house, and crow and fight like a rooster)
TEACHER: That is what is known as the Present Rooster Protocol. If only you do it that way. you will be considered a man of great learning. and your ceremonial first visit will be accomplished.
SON-IN-LAW: I •m most gr•tcful. TEACHER: Well now, 1 have here a tall black hat that looks like a
cockscomb. I will lend it to you. SON-IN-LAW: I am most grateful. TEACHER: Wait right there for a moment. SON-IN-LAW: With all my heart. TEACHER: (Bringing the hat.) Herc it is! Now I will help you put
it on. First, you must kneel down. SON-IN-LAW: What trouble I am putting you 10 1 TEACHER: Well now, kt's sec. (Putting the hat 011 the SON-IN-
LAW.) This is the way it should go. SON-IN-LAW: 1 am most grateful. When I get there I will likely
receive many fine things. On my way home, I will bring you a ' share of them for your pains. _TEACHER: I will be here waiting for you. ~ON-IN-LAW: Now I will be on my way. BOTH: Fare you well. fare you well. SON-IN-LAW: Oh, how happy. how happy I am. I must hurry on
my way. Truly, one with such great learning is rare. As often as I have gone and as many things as I have asked, he has never yet answered he did not know. And tod•y. thanks to him, I can comnlctc mv ceremonial first visit with great case. Well,
The-Rt,o!-lcr Son-i1,-l.:iw ( Nim1ron ,\foko) I 19
here I am already. I will start crowing and fighting like • rooster. (Ope11i11g hi1 fan. he wave1 both arm1 vigorou1/y and kick1 his feet.) Cock-a-doodlc-doo. cock-a-doodlc-doo!
FATHF.R-IN-1.AW: (To TARO KAJA.) Someone is making an awful noise out fmnl. I wontk-r wh:ll it is :di ahom. Gu :md find ou1.
TARO KAJA: As you say. Sir. (He goe1 to the door and 1peak1 to the SON-IN-LAW.) I say. I say! Who arc you?
SON-IN-I.AW: Arc you a member of this household? TARO KAJA: Indeed, I am the servant Taro Kaja. SON-IN-LAW: Announce that the son-in-law has arrived. TARO KAJ/1: I will announce you. Please wait right where you arc. SON-IN-LAW: With all my heart. , TARO KAJA: (To the FATHER-IN-LAW.) I have an announcement. FATHER-IN-LAW: What is it? / TIIRO KAJA: The son-in-law has arrived. FATHER-IN-LAW: Ask him to come in. TARO KAJA: As you say. Sir. (To the SON-IN,LIIW.) The master
says you should come in. SON-IN-LAW: With all my heart. (Singing.)
The son-in-law ~oes 10 his father-in-law's home. The son-in-law goes to his father-in-law's home. Unworthy to enter into the honorable parlor. Standing in humility, he calls from the entrance way. Cock-a-doodlc-doo, cock-a-doodlc-doo!
FATHER-IN-LAW: Herc. here. Taro Kaja! What do you make of that?
TARO KAJ/1: Whatever it is, it is very strange. FATHER-IN-LAW: I heard that my new son-in-law is most sober
and honest. Someone must have duped him. But as it has always been said that the son-in-law's disgrace is the fathcr-in- law's, and the father-in-law's is the son-in-law·s. if I do not join in with him. I will be laughed at and called a bumpkin. Now I will do what he is doing. 'so you go tell the other servants that no one is to laugh.
TARO KAJA: As you say. Sir. FATHER-IN-LAW: And you must not laugh either. TARO KIIJ/1: With all my heart.
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FATHER-IN-LAW: First come and help me get properly dressed. TARO K,\)A: Ha!
(TARO KAJA helps the FATHER-IN-LAW put on a hat like the one worn by the SON-IN-LAW.)
FATHER-IN-LAW: (Singing.) The father-in-law is so happily amazed. The father-in-law is so happily amazed, Determined to keep in step with his son-in-law. Hopping lightly to the ground from the verandah. He stands flapping his wings for joy with his son-in-law.
(The FATHER-IN-LAW and the SON-IN-LAW hop around kicking and shouting. · 'Cock.-a-doodle-doo. ·· circling the stage. Final- ly they stop and face each other.)
SON-IN-LAW: (Singing.) Here before the entrance of the honorable home ...
BOTH: (Singing.) We flit and fly. Through the cherry and the willow. We swoop past the roots of the pine in our happy dance. Until, for fear of losing his cockscomb In the branches of the maple. The satisfied father-in-law enters his home.
(The FI\THER-IN-LAW exists dun'ng the la.rt two lines above.) SON-IN-LAW: (Singing.)
The son-in-law. Having completed his visit, With success and pride. Starts on his way home.
(Coming downstage center. and jlaping his wings once more.) Cock-a-doodle-doo! (He exits quietly.)
Sightseer Zaemon
( Kenbutsu Zaemon)
A man goes sightseeing in the capital alone and has a day fill- ed with both pleasure and pain.
Cast of Characters
Sightseer Zaemon (Shite)
SIGHTSEER ZAEMON: I am a resident of this neighborhood. My name is Sightseer Zacmnn. While each and every spring brings fine weather. this year is panicularly balmy. Due 10 which. I have heard. the flowers of Avatar Jishu arc in full bloom already. Today I have decided to take Dillydally Zaemon along and go out flower viewing. For which purpose l have brought along a bamboo flask of wine. I must hurry on my way. Truly. I do hope he is at home. Since he seldom ventures out of the house. I am quite sure he will be there. Well. here I am at his house already. First I will announce myself. Hello in there' ls anybody home? Is Dillydally Zaemon at home' ... What' You say he has gone out flower viewing? Oh. I must say. what a pity. If that is the case. 1 will go on by myself. Truly. I would have enjoyed it a great deal more if Dillydally Zaemon were along with me. 1 must say. it is a pity. Well. here I am at Kiyomizu already. Oh. they are blooming! They arc really in bloom' They are at their very zenith. This is just the perfect time that people talk about when each and every bud is open, but not a single petal has yet fallen. Look. oh. look! People
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