You are here
قراءة كتاب Plays of Old Japan The 'No'
تنويه: تعرض هنا نبذة من اول ١٠ صفحات فقط من الكتاب الالكتروني، لقراءة الكتاب كاملا اضغط على الزر “اشتر الآن"
Table of Contents
PREFACE | v |
LIST OF ILLUSTRATIONS | vii |
TO THE READER | 1 |
THE MAIDEN’S TOMB | 35 |
KAGEKIYO | 53 |
TAMURA | 70 |
THE SUMIDA RIVER | 76 |
ENGLISH BIBLIOGRAPHY OF THE NŌ. |
PLAYS OF OLD JAPAN
THE NŌ
BY MARIE C. STOPES
EPOCHS OF CHINESE AND JAPANESE ART. By Ernest F. Fenollosa. In two Vols. Crown 4to. Illustrated. 36s. net.
A HISTORY OF JAPANESE COLOUR-PRINTS. By W. von Seidlitz. Illustrated in Colour and Black and White. One Vol. Crown 4to. 25s. net.
JAPANESE PLAYS AND PLAYFELLOWS. By Osman Edwards. With twelve Coloured Plates by Japanese Artists. One Vol. Demy 8vo. 10s. net.
KAKEMONA: Japanese Sketches. By A. Herbage Edwards. One Vol. Crown 8vo. 7s. 6d. net.
A HISTORY OF JAPANESE LITERATURE. By W. G. Aston. One Vol. Large Crown 8vo. 6s.
IN JAPAN: Pilgrimages to the Shrines of Art. By Gaston Migeon, translated by Florence Simmonds. One Vol. Crown 8vo. Illustrated. 6s. net.
THE JAPANESE DANCE. By M. A. Hincks. One Vol. Crown 8vo. Illustrated. 2s. 6d. net.
LONDON: WILLIAM HEINEMANN
PLAYS OF OLD JAPAN
THE ‘NŌ’
BY
MARIE C. STOPES
D.Sc., Ph.D., F.L.S.
TOGETHER WITH TRANSLATIONS OF THE DRAMAS BY M. C. STOPES
AND
PROFESSOR JOJI SAKURAI
D.Sc., LL.D.
WITH A PREFACE BY HIS EXCELLENCY
BARON KATO
THE JAPANESE AMBASSADOR
ILLUSTRATED
LONDON MCMXIII
WILLIAM HEINEMANN
Copyright and all translation and dramatic right reserved by Marie C. Stopes
PREFACE
By His Excellency the Japanese Ambassador
The utai does not appeal to the uneducated, and for that reason its devotees have practically been confined to the gentle and aristocratic classes. In the days before the educational system of Japan was established on Western lines, boys of the Samurai class in many parts of the country were taught to chant the utai in their schools as a part of their curriculum, the object being to ennoble their character by imbuing them with the spirit of the olden times, and also to provide for them a healthy means of recreation in their manhood. Along with many other institutions, it declined in favour in consequence of the great social and political upheaval which ushered in the era of Meiji; and for some time afterwards the people were too much occupied with various material aspects of life to find any leisure for the cultivation of the art, so much so that its professional exponents, meeting with no public support, had to give up the forlorn attempt to continue their task and to look elsewhere for a means of earning their livelihood.
With the consolidation of the new régime many old things took a new lease of life, the utai being one of them. Not only has the utai revived, but those who ought to know say that never in the long history of its existence has it been so extensively patronised as it is to-day. Patrons of the art are by no means confined to the aristocratic classes, albeit it is not so popular as the ordinary theatrical play, and never could be from the nature of the thing.
This book will, therefore, well repay study on the part of any one desirous of knowing and appreciating the working of the Japanese mind, and the author and her colleague are rendering a good service to the public of the West by initiating them into the subject. As the author frankly admits, to translate the utai into a European language is a most difficult task, and, in