English
Chamberlain’s Classical Poetry of the Japanese :-— “The stage, which has remained unaltered in every NO 205 respect since the beginning of the fifteenth century, is a Square wooden room. open on all sides but one, and supported on pillars, the side of the square being about eighteen English feet. It is surmounted by a quaint roof somewhat resembling those to be seen on Buddhist temples, and is connected with the green-room by a gallery some nine feet wide. Upon this gallery part of the action occasionally takes place. Added on to the back of the square stage is a narrow space where sits the orchestra, consisting of one flute-player, two performers on instruments, which, in the absence of a more fitting name, may. perhaps be called tambourines, and one beater of the drum, while the chorus, whose number is not fixed, squat on the ground to the right of the spectator. The back of the stage, the only side not open to the air, is painted with a pine-tree, in accordance with ancient usage, while, equally in conformity with established rules, three small pine-trees are planted in the court which divides the gallery from the space occupied by the less distinguished portion of the audience. The covered place for the audience runs round three sides of the stage.' Masks are worn by such of the actors as take the parts of females’or of supernatural beings, and the dresses are gorgeous in the extreme. Scenery, however, is allowed no place on the lyric stage.” It will readily be understood that the difficulty of arriv- ing at the meaning of such compositions as the No is very considerable. Mr. Mitford, no mean scholar, in his Tales of Old Japan pronounces them “wholly unin- telligible” ; though this statement must be taken with 1 From which it is separated by a space corresponding to our pit, only open to the air.—W. G. A. 206 JAPANESE LITERATURE some qualification, as he gives in the same work a lucid account of the plot of several of them. But even when he has mastered their sense, the translator’s difficulties are only beginning. I know of nothing in literature for which it is more impossible to give an adequate English equivalent than the intricate network of word-plays, quotations, and historical, literary, and scriptural allusions of which they consist. Mr. Chamberlain, who has done some of them into English verse, confesses that his rendering is only a paraphrase. Prose or a rough and ready blank verse has been preferred for the partial translation of the Yakasago, which is given below. But even when freed from the temptation to introduce ex- traneous matter which is hardly separable from a poetical version, it is not possible to render the original as faith- fully as might be desired. I have tried, however, while omitting a certain untranslatable element, at any rate to bring in nothing of my own. “TAKASAGO” This is one of the pieces attributed to MOTOKIYO, who died in 1455, but, as already suggested, he was probably only the director or manager of the theatre where it was produced. It is the best known, and is considered the finest of all the No. Its popularity was testified to no longer ago than last year (1897) by the launching, from the yard of Messrs. Armstrong & Co. at Newcastle, of a cruiser for the Japanese navy bearing the name of Zakasago. DRAMATIS PERSONA. ToOMONARI . a . Guardian of the Shinto shrine of Aso, in Kiushtu. AN OLD MAN : . Really the spirit of the Sumiyoshi fir-tree. AN OLD WoMAN . . Really the spirit of the Takasago fir-tree, TuE Gop OF SUMIYOSHI, Cuorus, TAKASAGO 207 Cuorus (?) ! (chants in nearly regular metre). Now for the first time he ties the lace of his travelling garb: His goal is distant many a long day’s journey. Tomonar! (speaks in prose). Now, this is 1, Tomonari, guardian of the shrine of Aso, in the province of Higo, in Kiushiu. Never having seen the capital, I have now made up my mind, and am going up to the capital. Moreover, I wish to take this opportunity of viewing the bay of Takasago, in Harima. CuHorRUus (?) (chants in regular metre). To-day he has made up his mind, and has donned his travelling raiment for a journey to a distant goal—the capital. With waves that rise along the shore, and a genial wind of spring upon the ship-path, how many days pass without a trace of him we know not, until at length he has reached the longed-for bay of Takasago, on the coast of Harima. Op Man anv OLD Woman (chant). The wind of spring that blows through the fir-tree of Takasago has gone down with the sun; the vesper bell is heard from the Temple of Onoye. O_p Woman. The waves are hidden from us by the mist- enshrouded rocks. Botu. There is naught but the sound to mark the rise and fall of the tide. OLtp Man. Whom can I take to be my friend? Except the fir-tree of Takasago, my ancient comrade, there is none to con- verse with me of the bygone days on which are ever gathering white snows [of forgetfulness]. I grow older and older, accus- tomed to hear nothing but the wind in the fir-tree either when I rise or go to sleep in my nest of an aged crane, where the night- long moon sheds its rays, and the spring sends down its hoar- frosts. So I make my own heart my companion, and thus give utterance to my thoughts. Boru. Let us sweep away the fir-needles that lie beneath the 1 The distribution of the speeches is sometimes doubtful. I have made one or two changes, 208 JAPANESE LITERATURE tree, sleeve touching sleeve of our garments, whereon rest fallen leaves shaken down by the shore-wind asking their news of the firs. Tomonart (sfoken). While waiting for some of the villagers to appear, an old man and an old woman have come hither. I pray you, old people, permit me to ask you a question. Oxp Man. It is I whom you address? What is it you desire to know? Tomonari. Which is the tree that is called the fir-tree of Takasago? Otp Man. This very tree whose shade we are cleansing is the fir-tree of Takasago. -Tomonart. The phrase “ growing old together” is used of the Takasago and Suminoye fir-trees. But this place and Sumiyoshi [the same as Suminoye] are in provinces distant from one another. How then can they be called the fir-trees which “grow old together”? Op Man. As you have deigned to observe, it is stated in the _ preface to the Avkinshiu} that the fir-trees of Vakasago and Sumi- noye make us feel as if they were growing old together. However that may be, here am J, an old man, who belong to Sumiyoshi, in the province of Settsu, while the old woman here is of this place. Be pleased to tell me, if you can, how that may be. TOMONARI (7% verse). Strange! I see you old couple here to- gether. What mean you then by saying that you dwell apart, one in distant Suminoye, the other in Takasago, divided from one another by seashore, hill, and province ? OLp Woman (iz verse). What an odd speech! Though many a mile of mountain and river separate them, the way of a husband and wife whose hearts respond to one another with mutual care, is not far apart. Op Woman. There is Suminoye. Ox_p Man. And here is Takasago. Tomonari. The fir-trees blend their hues. 1 See above, p. 66. TAKASAGO 209 OLp Man. And the spring air Tomonari. Is genial, while (Here the chorus strikes in with a canticle which is chanted as the indispensable accompaniment of every regular Japanese wedding, and ts one of the best known passages in Japanese literature. figures representing the two old folks under the fir-tree with brooms in thetr hands are, on such occasions, set out on a sort of tray. This 1s a favourite subject of the Japanese artist.) Cuorus. On the four seas Still are the waves ; The world is at peace. Soft blow the time-winds,} Rustling not the branches. In such an age Blest are the very firs, In that they meet To grow old together. Vain indeed Are reverent upward looks ; Vain even are words to tell Our thanks that we were born In such an age, Rich with the bounty Of our sovereign lord. Oup Man. I hear the sound of the bell of Onoye, in Taka- ago. Cuorus. The dawn is near, And the hoar-frost falls On the fir-tree twigs ; But its leaves’ dark green Suffer no change. Morning and evening Beneath its shade § The land and sea breezes, which blow regularly only in fine weather. 210 JAPANESE LITERATURE The leaves are swept away, Yet they never fail. True it is That these fir-trees Shed not all their leaves ; Their verdure remains fresh For ages long, As the Masaka trailing vine ; Even amongst evergreen trees— The emblem of unchangeableness— Exalted is their fame As a symbol to the end of time— The fame of the fir-trees that have grown old together. Tomonari. And ye who have made known the bygone story of these ancient firs whose branches have indeed earned fame— tell me, I pray you, by what names are ye called. OLp Man AND OLD Woman. Why conceal it lenger? We are the spirits of the fir-trees of Takasago and Suminoye that have grown old together, manifested under the form of a married pair. Cuorus. Wonderful! A miracle wrought by the fir-trees of this famous place ! Otp Man anD OLD Woman. Plants and trees are without souls Cuorus. Yet in this august reign OxLp Man anp OLD Woman. Even for plants and trees Cuorvus. Good is it to live For ever and ever In this land Of our great sovereign, Under his rule. To Sumiyoshi,! therefore, He would now take his way And there wait upon [the god]. He embarks in a fisher’s boat That lies by the beach, 1 Sumiyoshi means “ dwell-good.” TAKASAGO 21t Where the waves of evening roll, And spreading his sail To the favouring breeze, Puts out into the deep, Puts out into the deep. Tomonari.