restraint of a nobleman’s speech and bearing. “When notes fall sweetly and flutter delicately to the ear,” that is the yūgen of music. The symbol of yūgen is “a white bird with a flower in its beak.” “To watch the sun sink behind a flower-clad hill, to wander on and on in a huge forest with no thought of return, to stand upon the shore and gaze after a boat that goes hid by far-off islands, to ponder on the journey of wild-geese seen and lost among the clouds”—such are the gates to yūgen.

I will give a few specimens of Seami’s advice to his pupils:

PATRONS

The actor should not stare straight into the faces of the audience, but look between them. When he looks in the direction of the Daimyōs he must not let his eyes meet theirs, but must slightly avert his gaze.

At Palace-performances or when acting at a banquet, he must not let his eyes meet those of the Shōgun or stare straight into the Honourable Face. When playing in a large enclosure he must take care to keep as close as possible to the side where the Nobles are sitting; if in a small enclosure, as far off as possible. But particularly in Palace-performances and the like he must take the greatest pains to keep as far away as he possibly can from the August Presence.

Again, when the recitations are given at the Palace it is equally essential to begin at the right moment. It is bad to begin too soon and fatal to delay too long.

It sometimes happens that the “noble gentlemen” do not arrive at the theatre until the play has already reached its Development and Climax. In such cases the play is at its climax, but the noble gentlemen’s hearts are ripe only for Introduction. If they, ready only for Introduction, are forced to witness a Climax, they are not likely to get pleasure from it. Finally even the spectators who were there before, awed by the entry of the “exalted ones,” become so quiet that you would not know they were there, so that the whole audience ends by returning to the Introductory mood. At such a moment the Nō cannot possibly be a success. In such circumstances it is best to take Development-Nō and give it a slightly “introductory” turn. Then, if it is played gently, it may win the August Attention.

It also happens that one is suddenly sent for to perform at a Shōgunal feast or the like. The audience is already in a “climax-mood”; but “introductory” Nō must be played. This is a great difficulty. In such circumstances the best plan is to tinge the introduction with a nuance of “development.” But this must be done without “stickiness,” with the lightest possible touch, and the transition to the real Development and Climax must be made as quickly as possible.

In old times there were masters who perfected themselves in Nō without study. But nowadays the nobles and gentlemen have become so critical that they will only look with approbation on what is good and will not give attention to anything bad.

Their honourable eyes have become so keen that they notice the least defect, so that even a masterpiece that is as pearls many times polished or flowers choicely culled will not win the applause of our gentlemen to-day.

At the same time, good actors are becoming few and the Art is gradually sinking towards its decline. For this reason, if very strenuous study is not made, it is bound to disappear altogether.

When summoned to play before the noble gentlemen, we are expected to give the regular “words of good-wish” and to divide our performance into the three parts, Introduction, Development and Climax, so that the pre-arranged order cannot be varied.... But on less formal occasions, when, for example, one is playing not at a Shōgunal banquet but on a common, everyday (yo no tsune) stage, it is obviously unnecessary to limit oneself to the set forms of “happy wish.”

One’s style should be easy and full of graceful yūgen, and the piece[6] selected should be suitable to the audience. A ballad (ko-utai) or dance-song (kuse-mai) of the day will be best. One should have in one’s repertory a stock of such pieces and be ready to vary them according to the character of one’s audience.

In the words and gestures (of a farce, kyōgen) there should be nothing low. The jokes and repartee should be such as suit the august ears of the nobles and gentry. On no account must vulgar words or gestures be introduced, however funny they may be. This advice must be carefully observed.

Introduction, Development and Climax must also be strictly adhered to when dancing at the Palace. If the chanting proceeds from an “introductory-mood,” the dancing must belong to the same mood.... When one is suddenly summoned to perform at a riotous banquet, one must take into consideration the state of the noble gentlemen’s spirits.

IMITATION (Monomane).

In imitation there should be a tinge of the “unlike.” For if imitation be pressed too far it impinges on reality and ceases to give an impression of likeness. If one aims only at the beautiful, the “flower” is sure to appear. For example, in acting the part of an old man, the master actor tries to reproduce in his dance only the refinement and venerability of an old gentleman.[7] If the actor is old himself, he need not think about producing an impression of old age....

The appearance of old age will often be best given by making all movements a little late, so that they come just after the musical beat. If the actor bears this in mind, he may be as lively and energetic as he pleases. For in old age the limbs are heavy and the ears slow; there is the will to move but not the corresponding capacity.

It is in such methods as this that true imitation lies.... Youthful movements made by an old person are, indeed, delightful; they are like flowers blossoming on an old tree.

If, because the actor has noticed that old men walk with bent knees and back and have shrunken frames, he simply imitates these characteristics, he may achieve an appearance of decrepitude, but it will be at the expense of the “flower.” And if the “flower” be lacking there will be no beauty in his impersonation.

Women should be impersonated by a young actor.... It is very difficult to play the part of a Princess or lady-in-waiting, for little opportunity presents itself of studying their august behaviour and appearance. Great pains must be taken to see that robes and cloaks are worn in the correct way. These things do not depend on the actor’s fancy but must be carefully ascertained.

The appearance of ordinary ladies such as one is used to see about one is easy to imitate.... In acting the part of a dancing-girl, mad-woman or the like, whether he carry the fan or some fancy thing (a flowering branch, for instance) the actor must carry it loosely; his skirts must trail low so as to hide his feet; his knees and back must not be bent, his body must be poised gracefully. As regards the way he holds himself—if he bends back, it looks bad when he faces the audience; if he stoops, it looks bad from behind. But he will not look like a woman if he holds his head too stiffly. His sleeves should be as long as possible, so that he never shows his fingers.

APPARITIONS

Here the outward form is that of a ghost; but within is the heart of a man.

Such plays are generally in two parts. The beginning,