Students of international drama are turning more and more to the study of Japanese drama, desirous to know to what extent its development duplicates or differs from the evolution of drama in other countries. Stimulated by the colour, originality, power, and poetry, they are interested to know more. This title, first published in 1928, traces the general development of the drama of the Japanese. This book will be of interest to students of drama, theatre studies and Asian Studies.
Frequently asked questions
Simply head over to the account section in settings and click on “Cancel Subscription” - it’s as simple as that. After you cancel, your membership will stay active for the remainder of the time you’ve paid for. Learn more here.
At the moment all of our mobile-responsive ePub books are available to download via the app. Most of our PDFs are also available to download and we're working on making the final remaining ones downloadable now. Learn more here.
Both plans give you full access to the library and all of Perlego’s features. The only differences are the price and subscription period: With the annual plan you’ll save around 30% compared to 12 months on the monthly plan.
We are an online textbook subscription service, where you can get access to an entire online library for less than the price of a single book per month. With over 1 million books across 1000+ topics, we’ve got you covered! Learn more here.
Look out for the read-aloud symbol on your next book to see if you can listen to it. The read-aloud tool reads text aloud for you, highlighting the text as it is being read. You can pause it, speed it up and slow it down. Learn more here.
Yes, you can access An Outline History of the Japanese Drama by Frank Alanson Lombard in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Performing Arts. We have over one million books available in our catalogue for you to explore.
A STORY FOR PUPPET DRAMATIZATION BY CHIKAMATSU, 1718
ACT I
Persons Represented:
Prelude.—A Chinese king once called his followers faithful dogs; but one who wisely planned he called a man, since by the trapper’s fire ’tis men who guide the hunt, while faithful dogs run down and kill the game.
SCENE I. Residence of the Shogun at Kamakura.
YORITOMO, the Shogun, was encamped for hunting at the foot of Mount Fuji. At Kamakura, where shogunate authority rose more supreme than Fuji in its height, the Tiger Gate was opened at half-past four in the morning of the 28th of May, in the fourth year of Kenkyu (1193). In the General’s absence salutations for the day were to be received by Lady Yoritomo. She entered the reception-hall, and received in audience of salutation for that day the ladies: wives of Ministers Wada, Hatakeyama, Chiba, and Kasusa; wives of Captains Kudo, Kajiwara, Utsunomiya, Dohi, and Sasaki; wives of the nobility; wives of the most immediate hereditary retainers—all of worthy birth, who sat in order of their husbands’ rank.
Her rich, embroidered sleeves so brightly shone in light from lofty candle-stands that the golden painting of old Taketori’s daughter on the wall paled into dimness.
Well pleased, Lady Yoritomo in greeting said: “My noble ladies all, it surely is because of our great General’s might that, even in his absence at Mount Fuji for the hunt, Kamakura remains in peace for the lad, Yoriie, for your honoured selves, and me. In respect to those whose game, surpassing praise, has here been sent, let us listen to the reading of the official record of the hunt.”
At her command Nakahara, Yoshiyuki’s wife, read the list fluently, translating as she read official language into that of common speech.
“First on the list—a mighty stag, with hair for brushwork good, by Otomo-Ichiboshi, a youth of fifteen years, was shot; he well deserves reward. Second, a doe at distance great by Chichibu was slain; and, as the arrow cut is small, its spotted hide a garment for the General will make. A wild boar next, its ribs thrice deeply cut by strokes of Natta-Tadatsune’s sword—the highest honour of the hunt to that brave hunter falls.
“A lusty stag,
From grazing startled,
In pride of youth with angry roar,
Charged Nakanuma-Goro.
Its horns, torn in two fragments from its head,
Bear witness to its taking by hand unaided!
“Adroitly
Dohi-no-yataro crushed
The neck of a wolf,
That o’er a cliff had fallen,
With one kick
That like an iron hammer-stroke descended;
And like iron hammer-strokes
Were the blows of that wild bear,
Which, fiercer far than wolf or tiger,
Fell ’fore Mirenaga’s men—
His white neck gleaming
Like the hornèd moon,
In light of which two rabbits,
Running o’er the waves of pampas grass,
Were speared by Koyama
Who mounted rode the field.
“Without a scar,
The bony forehead of a wild boar broke
Beneath the impact
Yoichi’s blunted arrow gave.
Breathless, died a fox,
Hard pressed for miles
By Rokuyata,
Who ran and ran with speed of mountain hawk;
And this again is worthy praise—
An unarmed capture.
“Kodama-no-taro,
Hurling his spear aloft,
Brought down a wild goose,
With broken wing.
A flying deer,
Shot through the neck,
Rewarded Saburo’s aim.
And Takenoshita on his sword
The charging boar received
Too close at hand!
“Usami-no-saemon,
Kawagoe-Taro,
Soma-no-kotaro,
Yuke-no-tomoshige,
Tsuchiya, Hirayama,
Chiba, Utsunomiya,
All deserve honourable mention.
“In addition there is a stag, claimed as his own both by Kudo-Suketsune and by Honda-Jiro, of Chichibu’s train: claimed by them both for it bears two arrows—that of Kudo in its side, that of Honda in its breast. Though the game seems six-tenths Honda’s, the dispute is not settled yet; and so do the arrows remain as they struck; and so is the record thus writ in conclusion.
“(Signed) WADA-YOSHINORI,
“Clerk of the Hunt.”
When she had finished reading the ladies were pleased, and whispered each of her husband’s skill as if it were her own; but Akoya, Suketsune’s wife, drew near and boldly said: “That record is an offence to the ear. The fact that a Honda of Chichibu’s train, of humble rank, would contest the spoil with my husband, Suketsune, is full outrageous, without the false declaration that the game seemed six-tenths his. ’Tis Yoshinori’s partiality. In the record, that will stand throughout all time, I pray thee have it written that Suketsune, and that he alone, killed the deer.”
No sooner had she ceased than Tomoe, Yoshinori’s wife, came to her side and said:
“Indeed, Akoya, though Honda be a retainer in Chichibu’s train, he is a Genji of Musashi. His exploits in battle far surpass those of Suketsune; and in this present hunt he has received, by our Lord’s direct command, commission as night-guard. He is accorded place as Yoritomo’s follower; and his wife has here been granted audience by our Lady. Whom should he fear? Before whom silent keep, when wronged unjustly? ‘Yoshinori’s partiality!’ Why, Mrs. Kudo, ’twas your word; that’s putting it too strongly.”
Reddening with anger, Akoya retorted:
“Though he were a king’s grandson in olden days he’s but a servant now. Once you were Lady Tomoe, wife of a great general; but, that he might have big, husky children, Yoshinori took you; and now you are but as the rest of us. There’s no use in talking of Honda’s family, since now he does not know his place. Suketsune’s arrow has his sign in gold upon it—Kudo-Saemon-Suketsune; but Honda’s arrow is one in common use, bearing not even a family name. Disgraceful, for one ignorant of the rules of the hunting-field, to claim the deer! Make a new entry, or strike out Honda’s name. I will not cease to speak till it is done,” she said, insisting with vehement gesture.
Tokonatsu, Honda’s wife, from her humble seat at the end of the line, laughingly cried:
“I say, Madame Akoya, one may speak of rudeness in matters of precedence on horseback, the order of seats in a room, or the lift of the wine-cups; but you, I suppose, would run, turning your back on the enemy, rather than rudely to fight with a foe of superior rank in the battle. Your impertinent criticism, based on no knowledge of knighthood, is merely ridiculous.”
AKOYA.
That which you say is rude, beyond question.
TOKONATSU.
No; ’tis you who are rude, reflecting thus on the General.
So, like the twanging of bows, strident contended the women.
Rising from her seat, Lady Yoritomo exclaimed, in voice that commanded: “Silence them, ladies! A dispute which even ministers of State could not determine needs no comment from women. It is well that Noriyori, Yoritomo’s younger brother, is now a priest in retirement here in Kamakura. Hither will we invite him; and to his impartial judgment leave this, that there may be no enmity. Tomoe, give orders that this be done.”
Akoya, springing forward, sought to clasp Lady Yoritomo’s skirt, exclaiming, “Impartially to judge between Kudo-Saemon-Suketsune and that low creature, Honda, spiteful woman!”
But Tokonatsu held her fast, demanding from whose lips came the words low creature.
AKOYA.
From mine! From a daimyo’s lady, who holds as vassal Omi-Yawata and many a Honda’s equal. Is it strange that I should call him low?
TOKONATSU.
Ho, daimyo’s lady! I’ll make an end of you.
(They claw with blood-stained nails. Like wind-blown flowers, the women fight.)
Tomoe rose to her full height, and, seizing Akoya beneath her strong left arm, tossed both her legs aloft with loud “Yo, ho!” Painted brows and ornate head-dress were disordered; tears fell, and faint grew the breath of her nostrils.
TOMOE.
How sweet a body! How pleasant to embrace! With good reason, the apple of Suketsune’s eye! But it is not nice to speak so rudely in the presence of our Lady. I will send for a carriage and a horse to go with it. If you will insist upon having your own wilful way, insist to Suketsune upon his return. ’Mid the private billing and cooing of lovers there’s no limit to wild wantonness, wilful; but, if you persist before others, you will be treated like this. Does it hurt you? Oh, does it? You will have a hard time, indeed.
Tightening her grasp upon Akoya, she seized Tokonatsu’s left hand and hoisted her under her free arm, saying, “I am lop-sided with the weight as it is. Sorry, Tokonatsu, to use you thus as a balance!”
Two faces, pale, with tumbled hair, with Tomoe’s face between them, made Tomoe
truly.1
Six strokes upon the courtyard drum proclaimed the opening of the gates; and slowly morning dawned; and slowly morning dawned; and slowly morning dawned.
SCENE II. Upon the Road in Kamakura.
Noriyori, second son of that same Minamoto Family of the banner white, had become a priest at Shuzenji to remove all suspicion of intrigue against Yoritomo. He took the name Genyu; but, though he dyed his garments black, and lived in ways austere and plain, the people felt for him respect, profound and passionate.
In answer to the summons, now he took a common palanquin and set forth attended by one servant only. His sandals and his bamboo staff might well have to a mountebank belonged.
From the Castle Square came Kajiwara-Kagetaka, paunched like Hotei, god of luck, in a palanquin with doors flung wide. Five mounted spearmen rode before. Noriyori’s bearers drew aside for Kajiwara, whose attendants asked if he would descend to greet the princely priest. With gruff voice questioning the use of courtesy to a mere prince retired to monkish life, Kagetaka stuck out his head.
KAGETAKA.
Is it Prince Priest? You are on the way, I suppose, to Lady Yoritomo’s to settle the question at issue between Kudo and Honda. Those in charge during the General’s absence, big and little, will be there with me. This quarrel over a deer between Suketsune, leader of the hunt, and Honda, a lowly retainer, is like a dispute between a paper lantern and a temple-bell. If you give judgment against Suketsune, causing him in the least to be vanquished, it will go hard with you. Go on!
The palanquin was hurried forward by his eight barefooted carriers; and the prancing horses led the way, scattering dust upon roadside travellers—troublesome gnats—shoo, shoo.
It was outrageously discourteous.
A young man of about twenty came out from an open well; and, throwing aside the low hat which disguised him, bowed with hands to the ground. Seeing him, the Prince Priest addressed him with courteous gesture—“Retainer or free-lance, if your salutation is in my honour, pass on, pass on.” But the youth bowed the more, ...
Table of contents
Cover
Half Title
Title Page
Copyright Page
Oringinal Copyright Page
Table of Contents
FOREWORD
INTRODUCTION
I. ORIGINS AND EARLY FORMS
II. KAGURA
III. MATSURI AND STREET PLAYS
IV. DENGAKU AND OTHER ANTECEDENTS OF NOH
V. SARUGAKU AND NOH
VI. SHUGEN, YUREI AND SEIREI NOH
VII. GENZAI MONO NOH
VIII. KYOGEN
IX. JORURI AND AYATSURI
X. THE SOGA REVENGE By Chikamatsu for Ayatsuri dramatization
XI. KABUKI
XII. THE DEATH-LOVE OF KAMIYA-JIHEI A Kabuki by an unknown author of the early nineteenth century
