Module 9 Discussion Post

Prompt for Module 9 Discussion:

Argue for or against the statement: Noh and Kyōgen theater during the Muromachi period celebrated tradition and the status quo.

General reminders:

• There will be a prompt for each module’s discussion thread.
• If there is an “argue for or against” kind of prompt, there should be evidence for either side of the debate in the course materials.
• The format you use in your response will be relatively open: you can write a paragraph or two; you can write an outline or bullet point list; you can make and post a response video; you can use graphic images…if you have other ideas about format, just let me know.
• However, you must address the prompt and demonstrate engagement with course materials (by quoting, for example), and your third essay assignment will be to develop one of your discussion posts into a full essay.
• Cite your sources using Chicago style notes & bib (Links to an external site.).

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Masterworks of the
No Theate

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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 $ 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

, 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-kakrr

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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,

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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

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

·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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At.sumo,i

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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 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;

c~

., ……
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.)

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

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

0
.2_1q

Atsumori

~

f\)
.j:,.

(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

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

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,

0
,51

Alsumori

~

c.,.:,
0

0
252

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

,,\

i

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