Let be, they make grass-cloth in Kefu,Kefu, the land's end, matchless in the world.
SHITE
That is an old custom, truly,But this priest would look on the past.
CHORUS
The good priest himself would say:Even if we weave the cloth, Hosonuno,And set up the charm-sticksFor a thousand, a hundred nights,Even then our beautiful desire will not pass,Nor fade nor die out.
SHITE
Even to-day the difficulty of our meeting is remembered,And is remembered in song.
CHORUS
That we may acquire power,Even in our faint substance,We will show forth even now,And though it be but in a dream,Our form of repentance.(explaining the movement of the Shite and Tsure)There he is carrying wands,And she has no need to be asked.See her within the cave,With a cricket-like noise of weaving.The grass-gates and the hedge are between them;That is a symbol.Night has already come on.(now explaining the thoughts of the man's spirit)Love's thoughts are heaped high within him,As high as the charm-sticks,As high as the charm-sticks, once coloured,Now fading, lie heaped in this cave.And he knows of their fading. He says:I lie a body, unknown to any other man,Like old wood buried in moss.It were a fit thingThat I should stop thinking the love-thoughts.The charm-sticks fade and decay,And yet,The rumour of our loveTakes foot and moves through the world.We had no meetingBut tears have, it seems, brought out a bright blossomUpon the dyed tree of love.
SHITE
Tell me, could I have foreseenOr known what a heap of my writingsShould lie at the end of her shaft-bench?
CHORUS
A hundred nights and moreOf twisting, encumbered sleep,And now they make it a ballad,Not for one year or for two onlyBut until the days lie deepAs the sand's depth at Kefu,Until the year's end is red with Autumn,Red like these love-wands,A thousand nights are in vain.And I stand at this gate-side.You grant no admission, you do not show yourselfUntil I and my sleeves are faded.By the dew-like gemming of tears upon my sleeve,Why will you grant no admission?And we all are doomed to pass,You, and my sleeves and my tears.And you did not even know when three years had come to an end.Cruel, ah cruel!The charm-sticks....
SHITE
Were set up a thousand times;Then, now, and for always.
CHORUS Shall I ever at last see into that room of hers, which no other sight has traversed?
SHITE
Happy at last and well-starred,Now comes the eve of betrothal:We meet for the wine-cup.
CHORUS
How glorious the sleeves of the dance,That are like snow-whirls!
SHITE Tread out the dance.
CHORUS
Tread out the dance and bring music.This dance is for Nishikigi.
SHITEThis dance is for the evening plays,And for the weaving.
CHORUS
For the tokens between lover and lover:It is a reflecting in the wine-cup.
CHORUS
Ari-aki,The dawn!Come, we are out of place;Let us go ere the light comes.(to the Waki)We ask you, do not awake,We all will wither away,The wands and this cloth of a dream.Now you will come out of sleep,You tread the border and nothingAwaits you: no, all this will wither away.There is nothing here but this cave in the field's midst.To-day's wind moves in the pines;A wild place, unlit, and unfilled.
HAGOROMO, A PLAY IN ONE ACT.
PERSONS OF THE PLAY
THE PRIEST Hakuryo
A FISHERMAN
A TENNIN
CHORUS
HAGOROMO
The plot of the play 'Hagoromo, the Feather-mantle' is as follows. The priest finds the Hagoromo, the magical feather-mantle of a Tennin, an aerial spirit or celestial dancer, hanging upon a bough. She demands its return. He argues with her, and finally promises to return it, if she will teach him her dance or part of it. She accepts the offer. The Chorus explains the dance as symbolical of the daily changes of the moon. The words about 'three, five and fifteen' refer to the number of nights in the moon's changes. In the finale, the Tennin is supposed to disappear like a mountain slowly hidden in mist. The play shows the relation of the early Noh to the God-dance.
PRIEST
Windy road of the waves by Miwo,Swift with ships, loud over steersmen's voices.Hakuryo, taker of fish, head of his house,Dwells upon the barren pine-waste of Miwo.
A FISHERMAN Upon a thousand heights had gathered the inexplicable cloud, swept by the rain. The moon is just come to light the low house. A clean and pleasant time surely. There comes the breath-colour of spring; the waves rise in a line below the early mist; the moon is still delaying above, though we've no skill to grasp it. Here is a beauty to set the mind above itself.
CHORUS
I shall not be out of memoryOf the mountain road by Kiyomi,Nor of the parted grass by that bay,Nor of the far-seen pine-wasteOf Miwo of wheat stalks.
Let us go according to custom. Take hands against the wind here, for it presses the clouds and the sea. Those men who were going to fish are about to return without launching. Wait a little, is it not spring? will not the wind be quiet? this wind is only the voice of the lasting pine-trees, ready for stillness. See how the air is soundless, or would be, were it not for the waves. There now, the fishermen are putting out with even the smallest boats.
PRIEST Now I am come to shore at Miwo-no; I disembark in Subara; I see all that they speak of on the shore. An empty sky with music, a rain of flowers, strange fragrance on every side; all these are no common things, nor is this cloak that hangs upon the pine-tree. As I approach to inhale its colour I am aware of mystery. Its colour-smell is mysterious. I see that it is surely no common dress. I will take it now and return and make it a treasure in my house, to show to the aged.
TENNIN That cloak belongs to someone on this side. What are you proposing to do with it?
PRIEST This? this is a cloak picked up. I am taking it home, I tell you.
TENNIN
That is a feather-mantle not fit for a mortal to bear,Not easily wrested from the sky-traversing spirit,Not easily taken or given.I ask you to leave it where you found it.
PRIEST How, is the owner of this cloak a Tennin? so be it. In this downcast age I should keep it, a rare thing, and make it a treasure in the country, a thing respected. Then I should not return it.
TENNIN Pitiful, there is no flying without the cloak of feathers, no return through the ether. I pray you return me the mantle.
PRIEST Just from hearing these high words, I, Hakuryo have gathered more and yet more force. You think, because I was too stupid to recognise it, that I shall be unable to take and keep hid the feather-robe, that I shall give it back for merely being told to stand and withdraw?
TENNIN
A Tennin without her robe,A bird without wings,How shall she climb the air?
PRIEST And this world would be a sorry place for her to dwell in?
TENNIN I am caught, I struggle, how shall I?...
PRIEST No, Hakuryo is not one to give back the robe.
TENNIN Power does not attain....
PRIEST To get back the robe.
CHORUS Her coronet1jewelled as with the dew of tears, even the flowers that decorated her hair drooping, and fading, the whole chain of weaknesses2of the dying Tennin can be seen actually before the eyes. Sorrow!
TENNIN I look into the flat of heaven, peering; the cloud-road is all hidden and uncertain; we are lost in the rising mist; I have lost the knowledge of the road. Strange, a strange sorrow!
CHORUS Enviable colour of breath, wonder of clouds that fade along the sky that was our accustomed dwelling; hearing the sky-bird, accustomed and well accustomed, hearing the voices grow fewer, the wild geese fewer and fewer along the highways of air, how deep her longing to return. Plover and seagull are on the waves in the offing. Do they go, or do they return? She reaches out for the very blowing of the spring wind against heaven.
PRIEST (to the Tennin) What do you say? now that I can see you in your sorrow, gracious, of heaven, I bend and would return you your mantle.
TENNIN It grows clearer. No, give it this side.
PRIEST First tell me your nature, who are you, Tennin? give payment with the dance of the Tennin, and I will return you your mantle.
TENNIN Readily and gladly, and then I return into heaven. You shall have what pleasure you will, and I will leave a dance here, a joy to be new among men and to be memorial dancing. Learn then this dance that can turn the palace of the moon. No, come here to learn it. For the sorrows of the world I will leave this new dancing with you for sorrowful people. But give me my mantle, I cannot do the dance rightly without it.
PRIEST Not yet, for if you should get it, how do I know you'll not be off to your palace without even beginning your dance, not even a measure?
TENNIN Doubt is fitting for mortals; with us there is no deceit.
PRIEST I am again ashamed. I give you your mantle.
CHORUS The young maid now is arrayed; she assumes the curious mantle; watch how she moves in the dance of the rainbow-feathered garment.
PRIEST The heavenly feather-robe moves in accord with the wind.
TENNIN The sleeves of flowers are being wet with the rain.
PRIEST The wind and the sleeve move together.
CHORUS
It seems that she dances.Thus was the dance of pleasure,Suruga dancing, brought to the sacred east.Thus was it when the lords of the everlastingTrod the world,They being of old our friends.Upon ten sides their sky is without limit,They have named it on this account, 'the enduring.'
TENNIN The jewelled axe takes up the eternal renewing, the palace of the moon-god is being renewed with the jewelled axe, and this is always recurring.
CHORUS (commenting on the dance)The white kiromo, the black kiromo,Three, five into fifteen,The figure that the Tennin is dividing.There are heavenly nymphs, Amaotome,3One for each night of the month,And each with her deed assigned.
TENNIN I also am heaven-born and a maid, Amaotome. Of them there are many. This is the dividing of my body, that is fruit of the moon's tree, Katsuma.4This is one part of our dance that I leave to you here in your world.
CHORUS The spring mist is widespread abroad; so perhaps the wild olive's flower will blossom in the infinitely unreachable moon. Her flowery head-ornament is putting on colour; this truly is sign of the spring. Not sky is here, but the beauty; and even here comes the heavenly, wonderful wind. O blow, shut the accustomed path of the clouds. O, you in the form of a maid, grant us the favour of your delaying. The pine-waste of Miwo puts on the colour of spring. The bay of Kiyomi lies clear before the snow upon Fuji. Are not all these presages of the spring? There are but few ripples beneath the piny wind. It is quiet along the shore. There is naught but a fence of jewels between the earth and the sky, and the gods within and without,5beyond and beneath the stars, and the moon unclouded by her lord, and we who are born of the sun. This alone intervenes, here where the moon is unshadowed, here in Nippon, the sun's field.
TENNIN The plumage of heaven drops neither feather nor flame to its own diminution.
CHORUS Nor is this rock of earth over-much worn by the brushing of that feather-mantle, the feathery skirt of the stars: rarely, how rarely. There is a magic song from the east, the voices of many and many: and flute and shae, filling the space beyond the cloud's edge, seven-stringed; dance filling and filling. The red sun blots on the sky the line of the colour-drenched mountains. The flowers rain in a gust; it is no racking storm that comes over this green moor, which is afloat, as it would seem, in these waves. Wonderful is the sleeve of the white cloud, whirling such snow here.
TENNIN Plain of life, field of the sun, true foundation, great power!
CHORUS Hence and for ever this dancing shall be called, 'a revel in the east.' Many are the robes thou hast, now of the sky's colour itself, and now a green garment.
SEMI-CHORUS And now the robe of mist, presaging spring, a colour-smell as this wonderful maiden's skirt—left, right, left! The rustling of flowers, the putting-on of the feathery sleeve; they bend in air with the dancing.
SEMI-CHORUS Many are the joys in the east. She who is the colour-person of the moon takes her middle-night in the sky. She marks her three fives with this dancing, as a shadow of all fulfilments. The circled vows are at full. Give the seven jewels of rain and all of the treasure, you who go from us. After a little time, only a little time, can the mantle be upon the wind that was spread over Matsubara or over Ashilaka the mountain, though the clouds lie in its heaven like a plain awash with sea. Fuji is gone; the great peak of Fuji is blotted out little by little. It melts into the upper mist. In this way she (the Tennin) is lost to sight.
FOOTNOTES:
1 (return)[ Vide examples of state head-dress of kingfisher feathers, in the South Kensington Museum.]
2 (return)[ The chain of weaknesses, or the five ills, diseases of the Tennin: namely, the hanakadzusa withers; the Hagoromo is stained; sweat comes from the body; both eyes wink frequently; she feels very weary of her palace in heaven.]
3 (return)[ Cf. 'Paradiso,' xxiii, 25. 'Quale nei plenilunii sereni Trivia ride tra le ninfe eterne.']
4 (return)[ A tree something like the laurel.]
5 (return)[ 'Within and without,' gei, gu, two parts of the temple]
A PLAY IN TWO ACTS BY UJINOBU, ADOPTED SON OF MOTOKIJO.
PERSONS OF THE PLAY
A PRIEST
FIRST SHITE, OR HERO The apparition of Kumasaka in the form of an oldpriest
SECOND SHITE The apparition of Kumasaka in his true form.
CHORUS This chorus sometimes speaks what the chief characters are thinking, sometimes it describes or interprets the meaning of their movements. Plot: the ghost of Kumasaka makes reparation for his brigandage by protecting the country. He comes back to praise the bravery of the young man who killed him in single combat.
KUMASAKA
First Part
PRIEST Where shall I rest, wandering, weary of the world? I am a city-bred priest, I have not seen the east counties, and I've a mind to go there. Crossing the hills, I look on the lake of Omi, on the woods of Awatsu. Going over the long bridge at Seta, I rested a night at Noje, and another at Shinohara, and at the dawn I came to the green field, Awono in Miwo. I now pass Akasaka at sunset.
SHITE (In the form of an old priest) I could tell that priest a thing or two.
PRIEST Do you mean me, what is it?
SHITE A certain man died on this day. I ask you to pray for him.
PRIEST All right, but for whom shall I pray?
SHITE I will not tell you his name, but his grave lies in the green field beyond that tall pine tree. He cannot enter to the gates of Paradise, and so I ask you to pray.
PRIEST But I do not think it is proper to pray unless you tell me his name.
SHITE No, no; you can pray the prayer, Ho kai shijo biodo riaku; that would do.
PRIEST (praying) Unto all mortals let there be equal grace, to pass from this life of agony by the gates of death into law, into the peaceful kingdom.
SHITE (saying first a word or two) If you pray for him,—
CHORUS (continuing the sentence) If you pray with the prayer of 'Exeat' he will be thankful, and you need not be aware of his name. They say that prayer can be heard for even the grass and the plants, for even the sand and the soil here; and they will surely hear it, if you pray for an unknown man.
SHITE Will you enter? This is my cottage.
PRIEST This is your house? Very well, I will hold the service in your house; but I see no picture of Buddha nor any wooden image in this cottage, nothing but a long spear on one wall and an iron stick in place of a priest's wand, and many arrows. What are these for?
SHITE (thinking) Yes, this priest is still in the first stage of faith. (aloud) As you see, there are many villages here: Zorii, Awohaka, and Akasaka. But the tall grass of Awo-no-ga-kara grows round the roads between them, and the forest is thick at Koyasu and Awohaka, and many robbers come out under the rains. They attack the baggage on horseback, and take the clothing of maids and servants who pass here. So I go out with this spear.
PRIEST That's very fine, isn't it?
CHORUS You will think it very strange for a priest to do this; but even Buddha has the sharp sword of Mida, and Aijen Miowo has arrows, and Tamon, taking his long spear, throws down the evil spirits.
SHITE The deep love.
CHORUS —is excellent. Good feeling and keeping order are much more excellent than the love of Bosatsu. 'I think of these matters and know little of anything else. It is from my own heart that I am lost, wandering. But if I begin talking I shall keep on talking until dawn. Go to bed, good father; I will sleep too.' He seemed to be going to his bedroom, but suddenly his figure disappeared, and the cottage became a field of grass. The priest passes the night under the pine trees.
PRIEST I cannot sleep out the night. Perhaps if I held my service during the night under this pine tree....
(He begins his service for the dead man.)
Second Part
SECOND SHITE There are winds in the east and south; the clouds are not calm in the west; and in the north the wind of the dark evening blusters; and under the shade of the mountain—
CHORUS There is a rustling of boughs and leaves.
SECOND SHITE Perhaps there will be moon-shine to-night, but the clouds veil the sky; the moon will not break up their shadow. 'Have at them!' 'Ho there!' 'Dash in!' That is the way I would shout, calling and ordering my men before and behind, my bowmen and horsemen. I plundered men of their treasure, that was my work in the world, and now I must go on; it is sorry work for a spirit.
PRIEST Are you Kumasaka Chohan? Tell me the tale of your years.
SECOND SHITE (now known as Kumasaka) There were great merchants in Sanjo, Yoshitsugu, and Nobutaka; they collected treasure each year; they sent rich goods up to Oku. It was then I assailed their trains. Would you know what men were with me?
PRIEST Tell me the chief men, were they from many a province?
KUMASAKA There was Kakusho of Kawachi, there were the two brothers Suriharitaro; they have no rivals in fencing. (omotenchi, face to face attack)
PRIEST What chiefs came to you from the city?
KUMASAKA Emoi of Sanjo, Kozari of Mibu.
PRIEST In the fighting with torches and in mêlée—
KUMASAKA They had no equals.
PRIEST In northern Hakoku?
KUMASAKA Were Aso no Matsuwaka and Mikune no Kure.
PRIEST In Kaga?
KUMASAKA No, Chohan was the head there. There were seventy comrades who were very strong and skilful.
CHORUS While Yoshitsugu was going along in the fields and on the mountains we set many spies to take him.
KUMASAKA Let us say that he is come to the village of Ubasike. This is the best place to attack him. There are many ways to escape if we are defeated, and he has invited many guests and has had a great feast at the inn.
PRIEST When the night was advanced the brothers Yoshitsugu and Nobutaka fell asleep.
KUMASAKA But there was a small boy with keen eyes, about sixteen or seventeen years old, and he was looking through a little hole in the partition, alert to the slightest noise.
PRIEST He did not sleep even a wink.
KUMASAKA We did not know it was Ushiwaka.
PRIEST It was fate.
KUMASAKA The hour had come.
PRIEST Be quick!
KUMASAKA Have at them!
CHORUS (describing the original combat, now symbolized in the dance) At this word they rushed in, one after another. They seized the torches; it seemed as if gods could not face them. Ushiwaka stood unafraid; he seized a small sword and fought like a lion in earnest, like a tiger rushing, like a bird swooping. He fought so cleverly that he felled the thirteen who opposed him; many were wounded besides. They fled without swords or arrows. Then Kumasaka said, 'Are you the devil? Is it a god who has struck down these men with such ease? Perhaps you are not a man. However, dead men take no plunder, and I'd rather leave this truck of Yoshitsugu's than my corpse.' So he took his long spear and was about to make off.
KUMASAKA —But Kumasaka thought—
CHORUS (taking it up) What can he do, that young chap, if I ply my secret arts freely? Be he god or devil, I will grasp him and grind him. I will offer his body as sacrifice to those whom he has slain. So he drew back, and holding his long spear against his side he hid himself behind the door and stared at the young lad. Ushiwaka beheld him, and holding his sword at his side he crouched at a little distance. Kumasaka waited likewise. They both waited, alertly; then Kumasaka stepped forth swiftly with his left foot, and struck out with the long spear. It would have run through an iron wall. Ushiwaka parried it lightly, swept it away, left volted. Kumasaka followed and again lunged out with the spear, and Ushiwaka parried the spear-blade quite lightly. Then Kumasaka turned the edge of his spear-blade towards Ushiwaka and slashed at him, and Ushiwaka leaped to the right. Kumasaka lifted his spear and the two weapons were twisted together. Ushiwaka drew back his blade. Kumasaka swung with his spear. Ushiwaka led up and stepped into shadow.
Kumasaka tried to find him, and Ushiwaka slit through the back-chink of his armour; this seemed the end of his course, and he was wroth to be slain by such a young boy.
KUMASAKA Slowly the wound—
CHORUS —seemed to pierce; his heart failed; weakness o'ercame him.
KUMASAKA At the foot of this pine tree—
CHORUS He vanished like a dew.
And so saying, he disappeared among the shades of the pine tree at Akasaka, and night fell.
A PLAY IN ONE ACT, BY MOTOKIYO
PERSONS OF THE PLAY
SHITE Kagekiyo old and blind
TSURE Hime his daughter, called also Hitomaru
TOMO Her attendant
WAKI A villager
CHORUS
The scene is in Hinga.
KAGEKIYO
HIME AND TOMO (chanting) What should it be; the body of dew, wholly at the mercy of wind?
HIME
I am a girl named Hitomaru from Kamega-engayatsu,My father, Akushichi-bioye Kagekiyo,Fought by the side of Heike,And is therefore hated by Genji.He was banished to Miyazaki in Hinga,To waste out the end of his life.Though I am unaccustomed to travel,I will try to go to my father.
HIME AND TOMO (describing the journey as they walk across the bridge andthe stage)Sleeping with the grass for our pillow,The dew has covered our sleeves.(singing)Of whom shall I ask my wayAs I go out from Tagami province?Of whom in Totomi?I crossed the bay in a small hired boatAnd came to Yatsuhashi in Mikawa:Ah when shall I see the City-on-the-cloud?
TOMO As we have come so fast, we are now in Miyazaki of Hinga.
It is here you should ask for your father.
KAGEKIYO (in another corner of the stage) Sitting at the gate of the pine wood, I wear out the end of my years. I cannot see the clear light, I know not how the time passes. I sit here in this dark hovel, with one coat for the warm and the cold, and my body is but a frame-work of bones.
CHORUS May as well be a priest with black sleeves. Now having left the world in sorrow, I look upon my withered shape. There is no one to pity me now.
HIME Surely no one can live in that ruin, and yet a voice sounds from it. A beggar perhaps, let us take a few steps and see.
KAGEKIYO My eyes will not show it me, yet the autumn wind is upon us.
HIME The wind blows from an unknown past, and spreads our doubts through the world. The wind blows, and I have no rest, nor any place to find quiet.
KAGEKIYO Neither in the world of passion, nor in the world of colour, nor in the world of non-colour, is there any such place of rest; beneath the one sky are they all. Whom shall I ask, and how answer?
TOMO Shall I ask the old man by the thatch?
KAGEKIYO Who are you?
TOMO Where does the exile live?
KAGEKIYO What exile?
TOMO One who is called Akushichi-bioye Kagekiyo, a noble who fought under Heike.
KAGEKIYO Indeed? I have heard of him, but I am blind, I have not looked in his face. I have heard of his wretched condition and pity him. You had better ask for him at the next place.
TOMO (to Hime) It seems that he is not here, shall we ask further? (they pass on)
KAGEKIYO Strange, I feel that woman who has just passed is the child of that blind man. Long ago I loved a courtezan in Atsuta, one time when I was in that place. But I thought our girl-child would be no use to us, and I left her with the head man in the valley of Kamega-engayatsu; and now she has gone by me and spoken, although she does not know who I am.
CHORUS
Although I have heard her voice,The pity is that I cannot see her.And I have let her go byWithout divulging my name.This is the true love of a father.
TOMO (at further side of the stage) Is there any native about?
VILLAGER What do you want with me?
TOMO Do you know where the exile lives?
VILLAGER What exile is it you want?
TOMO Akushichi-bioye Kagekiyo, a noble of Heike's party.
VILLAGER Did you not pass an old man under the edge of the mountain, as you were coming that way?
TOMO A blind beggar in a thatched cottage.
VILLAGER That fellow was Kagekiyo. What ails the lady? she shivers.
TOMO A question you might well ask. She is the exile's daughter. She wanted to see her father once more, and so came hither to seek him. Will you take us to Kagekiyo?
VILLAGER Bless my soul! Kagekiyo's daughter. Come, come, never mind, young miss. Now I will tell you, Kagekiyo went blind in both eyes, and so he shaved his crown and called himself 'The Blind man of Hinga.' He begs a bit from the passers, and the likes of us keep him; he'd be ashamed to tell you his name. However, I'll come along with you, and then I'll call out, 'Kagekiyo;' and if he comes, you can see him and have a word with him. Let us along, (they cross the stage, and the villager calls) Kagekiyo, Oh there, Kagekiyo!
KAGEKIYO Noise, noise! Someone came from my home to call me, but I sent them on. I couldn't be seen like this. Tears like the thousand lines in a rain storm, bitter tears soften my sleeve. Ten thousand things rise in a dream, and I wake in this hovel, wretched, just a nothing in the wide world. How can I answer when they call me by my right name?
CHORUS Do not call out the name he had in his glory. You will move the bad blood in his heart, (then taking up Kagekiyo's thought) I am angry.
KAGEKIYO Living here....
CHORUS (going on with Kagekiyo's thought) I go on living here, hated by the people in power. A blind man without his staff, I am deformed, and therefore speak evil; excuse me.
KAGEKIYO My eyes are darkened.
CHORUS Though my eyes are dark I understand the thoughts of another. I understand at a word. The wind comes down from the pine trees on the mountain, and snow comes down after the wind. The dream tells of my glory, I am loth to wake from the dream. I hear the waves running in the evening tide, as when I was with Heike. Shall I act out the old ballad?
KAGEKIYO (to the villager) I had a weight on my mind, I spoke to you very harshly, excuse me.
VILLAGER You're always like that, never mind it. Has anyone been here to see you?
KAGEKIYO No one but you.
VILLAGER Go on, that is not true. Your daughter was here. Why couldn't you tell her the truth, she being so sad and so eager. I have brought her back now. Come now, speak with your father. Come along.
HIME O, O, I came such a long journey, under rain, under wind, wet with dew, over the frost; you do not see into my heart. It seems that a father's love goes when the child is not worth it.
KAGEKIYO I meant to keep it concealed, but now they have found it all out. I shall drench you with the dew of my shame, you who are young as a flower. I tell you my name, and that we are father and child; yet I thought this would put dishonour upon you, and therefore I let you pass. Do not hold it against me.
CHORUS At first I was angry that my friends would no longer come near me. But now I have come to a time when I could not believe that even a child of my own would seek me out.
(singing)Upon all the boats of the men of Heike's factionKagekiyo was the fighter most in call,Brave were his men, cunning sailors,And now even the leaderIs worn out and dull as a horse.
VILLAGER (to Kagekiyo) Many a fine thing is gone, sir; your daughter would like to ask you....
KAGEKIYO What is it?
VILLAGER She has heard of your old fame in Uashima. Would you tell her the ballad?
KAGEKIYO Towards the end of the third month it was, in the third year of Juei. We men of Heike were in ships, the men of Genji were on land. Their war-tents stretched on the shore. We awaited decision. And Noto-no-Kami Noritsune said: 'Last year in the hills of Harima, & in Midzushima, and in Hiyodorigoye of Bitchiu, we were defeated time and again, for Yoshitsine is tactful and cunning.' 'Is there any way we can beat them?' (Kagekiyo thought in his mind) 'This Hangan Yoshitsine is neither god nor a devil, at the risk of my life I might do it.' So he took leave of Noritsune and led a party against the shore, and all the men of Genji rushed on them.
CHORUS Kagekiyo cried, 'You are haughty.' His armour caught every turn of the sun. He drove them four ways before them.
KAGEKIYO (excited and crying out) Samoshiya! Run, cowards!
CHORUS He thought, how easy this killing. He rushed with his spear-haft gripped under his arm. He cried out, 'I am Kagekiyo of the Heike.' He rushed on to take them. He pierced through the helmet vizards of Miyonoya. Miyonoya fled twice, and again; and Kagekiyo cried, 'You shall not escape me!' He leaped and wrenched off his helmet. 'Eya!' The vizard broke and remained in his hand and Miyonoya still fled afar, and afar, and he looked back crying in terror, 'How terrible, how heavy your arm!' And Kagekiyo called at him, 'How tough the shaft of your neck is!' And they both laughed out over the battle, and went off each his own way.
CHORUS These were the deeds of old, but oh, to tell them! To be telling them over now in his wretched condition. His life in the world is weary, he is near the end of his course. 'Go back,' he would say to his daughter. 'Pray for me when I am gone from the world, for I shall then count upon you as we count on a lamp in the darkness ... we who are blind.' 'I will stay,' she said. Then she obeyed him, and only one voice is left.
We tell this for the remembrance. Thus were the parent and child.
END
Ernest Fenollosa has left this memorandum on the stoicism of the last play: I asked Mr. Hirata how it could be considered natural or dutiful for the daughter to leave her father in such a condition. He said, 'that the Japanese would not be in sympathy with such sternness now, but that it was the old Bushido spirit. The personality of the old man is worn out, no more good in this life. It would be sentimentality for her to remain with him. No good could be done. He could well restrain his love for her, better that she should pray for him and go on with the work of her normal life.'
Of the plays in this book, 'Nishikigi' has appeared in 'Poetry,' 'Hagoromo' in 'The Quarterly Review,' and 'Kumasaka,' in 'The Drama;' to the editors of which periodicals I wish to express my acknowledgment.
Ezra Pound.