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The Angel in Hagoromo [Public domain image]

The Nō Plays of Japan

By Arthur Waley

[1921]


Nō (also spelled Noh) drama incorporates folk-tales, poetry, and dance in an exquisite, very formalized setting. These works are of interest beyond their artistic appeal, because they are interwoven with Buddhist (and to a lesser extent, Shinto) traditions and beliefs, and provide deep insight into Japanese culture.


Title Page
Contents
Illustrations
Plan I
Plan II
Introduction
Note on Buddhism

Chapter I

Chapter I
Atsumori
Ikuta
Tsunemasa

Chapter II

Chapter II
Kumasaka
Eboshi-ori
Benkei on the Bridge

Chapter III.

Chapter III
Kagekiyo
Hachi no Ki
Note on Komachi
Sotoba Komachi

Chapter IV

Chapter IV
Note on Ukai
Ukai (the Cormorant-Fisher)
Aya no Tsuzumi (The Damask Drum)
Note On Aoi no Uye
Aoi no Uye (Princess Hollyhock)

Chapter V

Chapter V
Note On Kantan
Kantan
The Hōka Priests
Note on Hagoromo
Hagoromo

Chapter VI

Chapter VI
Note on Tanikō and Ikeniye
Tanikō (The Valley-Hurling)
Ikeniye (The Pool-Sacrifice)
Hatsuyuki (Early Snow)
Haku Rakuten

Chapter VII: Summaries

Chapter VII: Summaries
Hanakatami (The Flower Basket
Ominameshi
Matsukaze
Shunkwan
Ama (The Fisher-Girl)
Take no Yuki (Snow on the Bamboos)
Tori-oi
Yuya
Tango-Monogurui
Ikkaku Sennin
Yamauba (The Dame of the Mountains)
Hotoke no Hara
Mari (The Football)
Tōru
Mai-Guruma (The Dance Waggons)

Chapter VIII: Kyōgen

Chapter VIII: Kyōgen (Farcical Interlude)
Short Bibliography
Appendix I
Appendix II