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EL 112

Survey of Afro-Asian Literature

WRITTEN REPORT

SUBMITTED BY:
Cathy Mae C. Rivera
English 2D

Sheila Marie O. David

INSTRUCTOR

EL 112 Survey of Afro- Asian Literature

 I. Introduction
Japan is a country that has one of the world’s largest measurable histories and culture.
Infact, the country has around 1100 national treasures and 13000 items of cultural
significance. And one of the proofs that Japan is indeed have a rich culture and
history is the existence of Noh play in the country until now, wherein Noh play live
on as a magnificent artistic heritage handed down from the high culture of medieval
Japan. Among the major types of Japanese drama, the Noh, which is often called the
classical theatre of Japan, has had perhaps the greatest attraction. This report will give
you and in-depth knowledge about Noh plays and one of its most famous plays which
are Atsumori.

II. Objectives

 To develop knowledge about Noh Play

 To understand the story of Atsumori
 To identify the elements of the story of Atsumori

III. Discussion

Noh Play

 Borrowing from middle Chinese nong, means “skills”, “craft”, or “talent”.

 The oldest surviving form of Japanese theatre. It combines music, dance, and acting to
communicate Buddhist themes.
 Often the plot of a Noh play recreates famous scenes from well-known works of Japanese
literature such as The Tale of Genji or The Tale of the Heike.

Noh is the purest of the classical dramas of Japan, characterized by beauty and purity of poetic
lines, refinement and elegance, nobility of themes, and polished manner of presentation which
saw perfection under the hands of Kwannami Kiyotsugu or Kannami, well known actor and
writer , and hus son Zeami Motokiyo.

Zeami Motokiyo (世阿弥 元清) (c. 1363 – c. 1443), also called Kanze Motokiyo (観世 元清),
was a Japanese aesthetician, actor, and playwright. His father, Kan'ami, introduced him
to Noh theater performance at a young age, and found that he was a skilled actor.

Kan'ami was also skilled in acting and formed a family theater ensemble. As it grew in
popularity, Zeami had the opportunity to perform in front of the Shōgun, Ashikaga Yoshimitsu.

EL 112 Survey of Afro- Asian Literature

The Shōgun was impressed by the young actor and began to compose a love affair with him.
Zeami was introduced to Yoshimitsu's court and was provided with an education in classical
literature and philosophy while continuing to act. In 1374, Zeami received patronage and made
acting his career.

Five Types of Noh Plays

 The first type, the kami (“God”) play, involves a sacred story of a Shinto Shrine;
 The second, shura mono (“fighting play”), centres on warriors;
 The third, katsura mono (“wig play”), has a female protagonist;
 The fourth type, varied in content, includes the gendai mono (“present-day play”) in
which the story is contemporary and ‘realistic’ rather than legendary and supernatural,
and the kyojo mono (“madwoman play”), in which the protagonist becomes insane
through the loss of a lover or a child;
 The fifth type, the kiri or kichiku (“final” or “demon”) play, features devils, strange
beasts, and supernatural beings.

Noh theatres

Performers are divided into schools or "specialties"

Waki- Supporting actor who often plays a monk, samuri, or priest. He never plays a dead
character.

Shite -the lead character. He could be any number of characters.

Jiutai - a chorus of 8 to 10 shite actors. They help tell the story.

Hayashi- musicians who accompany all parts of the performance

Masks

Jō- elder (Jō masks) - Masks portraying elder people are called

Otoko-men (Otoko masks) - Depending on roles' social positions or situations in plays,

performers choose masks from various types of this mask.

Onna-women (Onna masks) – Is the most popular type of the Noh masks that first comes into
people's minds.

Kishin - Tengu (long-nosed goblins) or demons - This is assumed to have appeared in the early
stage of the history, describing supernatural substances.

EL 112 Survey of Afro- Asian Literature

Onryo – ghost or spirit - This is the type that portrays incarnate spirits of dead persons.

Costumes

The costumes used in noh are called noh shōzoku.

A good example is the karaori, an exquisitely embroidered, traditional woman’s kimono.

Certainly one of the most beautiful theatrical costumes in the world.

During the early stages of noh, around the time of Kannami and Zeami, the costumes were more
modest, as they were using the their everyday clothes to perform in. However, as noh became
favorable in the eyes of the aristocracy and military ruling classes, they began to receive more
finely crafted kimono to perform and this gradually became the norm.

Atsumori

By Zeami

Atsumori is a warrior, or shura piece, which belongs to group II of Noh plays.

It accompanies a place between the god- play and the wig-piece in the Noh programs. Compared
with the former, there are some structural changes in the shura piece, but it demostrates the
formal elements of the god-play more than those of the wig-piece.

Zeami chose the excellent theme of the story of the young warrior-aristocrat Taira no Atsumori ,
told in the ninth chapter of the Tale of Heike and in the thirty-eight chapter of the rise and fall of
the Genpei.

Characters
Waki: Priest Rensei – he was Kumagae Jiro Naozane, a native of the Province of Musash
before but since Atsumori was slain by his hand, the sorrow he felt has led him to a form as a
Buddist priest and he performed the Holy Buddhist service for Atsumori’s memory.

Shite (Part I ): Ghost of Atsumori (appears as a grasscutter) – Atsumori disguise as a grass cutter.

Tsuke: The fellow grass cutters (three) – those people who accompanied Atsumori as they were
playing the flute.

Nochi-jite : (Part II): Ghost of Taira no Atsumori (appears as himself)- Atsumori reveals himself
after Rensei offer him a Bhuddist prayer for his memory.

EL 112 Survey of Afro- Asian Literature

Kyogen: A man of the place- the person who told Rensei about the death of Atsumori, a noble of
the Heike clan

Setting

Ichi no Tanim in Settsu Province

Season: Autumn

Number of Scenes: 2

Length: about 1 hour and 25 minutes

Plot
After killing the exceptionally young warrior, Taira no Atsumori, in the battle at Ichi-no-tani,
Kumagai no Jirō Naozane, a warrior of the Genji clan, renounced the world and took the priestly
name Rensei (Renshō), as he was overwhelmed by the tragedy and realized the uncertainty of
life.
PART I

1.Rensei enters

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(Following introductory of music called shidai ,the waki, Priest Rensei,wearing a

pointed hood(kaku-boshi), a less-formal heavy silk kimono (noshime), a broad-sleeved
robe (mizugoromo), a waist band (koshiobi), a fan (ogi), a rosary (juzu) comes out to
the name saying pillar and facing the musicians seats, sings the following verse. )

From the original text:

As the world is but a dream,

so surprised by this
that the world is but a dream,
so surprised by this;
then renouncing of this world
is truly real?

EL 112 Survey of Afro- Asian Literature

 WAKI
I am Kumagae Jiro Naozane, a native of the Province of Musashi. I have renounced this
world and become a Buddhist priest, calling myself Rensei. Since Atsumori was slain by my
hand, the sorrow 1 felt has led me to a form such as this. From here I think I will go
westward to the First Ravine and there I will perform a holy Buddhist service for Atsumori’s
memory.
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2. The grass cutters and his companions enters, and their dialogues
When Rensei (Renshō) visits the Ichi-no-tani battlefield to pray for the repose of Atsumori's
soul and looks back on the day, grass cutters appear, to the music of a flute. When Rensei
(Renshō) speaks to them, one of them tells him the story associated with the flute.
----------------------------------------------------------------------------------------------------------------
(Following the shidai music, the shite, the grasscutter, enters the stage wearing a Noh
mask,a collar in a pale blue (eri asagi) , a striped less formal silk kimono (dan noshime),
an interior silk broad sleeved robe (shike mizugoromo), a waist band (koshiobi), fan
(ogi).
He is followed by his fellow grass cutters, similarly dressed; always holding sprays of
flowers and facing one another, they sing the following shidai together. )
From the original text:
WAKI
About the flute I have just heard, is it
played among you?
SHITE
Yes.The flute is played among us.
WAKI
How elegant! The performance is unbecoming for folks like you, but it is very, very elegant
indeed, I should say.
SHITE
Though I hear you say the performance
is unbecoming for folks like us, there is
a saying: “Do not envy those who excel you. Do not despise those who fall

EL 112 Survey of Afro- Asian Literature

 short of you.” Besides, in the case of
the “woodsman‘s song” and the “herds- man’s flute,”

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3. Favor of the grass cutter
To the suspicious Rensei (Renshō), the man responds that he has a connection with Atsumori
and asks Rensei (Renshō) to repeat the prayer to Amitabha Buddha ten times for the sake of
Atsumori. When Rensei (Renshō) recites the sutra connected with Amitabha Tathagata, the
man implies that he is the ghost of Atsumori and disappears.
-------------------------------------------------------------------------------------------------------------------
From the original text:
WAKI
How strange! The other grass cutters
have all gone home, but you are still
here by yourself. I wonder why.
SHITE
Why do you ask? Guided by the voices
calling across the evening waves I have come. Please repeat for me the Holy
Name ten times.
WAKI
I shall be glad to repeat the Holy Name
ten times. Though I shall do so, I still
must ask you who you are.
SHITE
To relate to you the truth,
Atsumori no I am really one
who was once in close connection
with Lord Atsumori

EL 112 Survey of Afro- Asian Literature

WAKI
I hear you are connected;
natsukashi ya to you are so dear, he says,
[With the rosary, the waki folds his hand in prayer.]
And clasping tight his hands
together, prays:
holy Amida Buddha!
------
SHITE AND WAKI
Should I gain enlightenment,
Through this ten sphered world, let all
Those who call my name be saved from abandonment.
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4. Dialogue between Rensei and the man living in Suma bay

Rensei , who wonders about the incidents he has experienced, ask a local passerby about the
story of the death of Atsumori. When he gives his old name, Kumagai no Naozane, the man
recomends him to further pray for Atsumori. Rensei decides to stay for a while to hold further
memorial rites to Atsumori.
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(Nakairi (Interlude)[The kyogen, wearing a striped, less-formal heavy silk kimono

dannoshime), the kyogen two piece (kyogen kamishimo), and a waistband (koshiobi), and
carrying a fan (ogi) in his hand, comes out to the name-saying pillar and intones the
following prose passage).

From the original text:

Well. It was about autumn of the second year of the Juei era that the Heike were defeated at the
capital by Kiso Yoshi-naka and the Heike moved to this place. The Genji, however, determined
to destroy them. Dividing their gallant warriors six hundred thousand strong into two forces, the
Genji crushed the Heike right and left, and as the Heike fell, they scattered and dispersed.
Among them the son of Lord Tsunemori, the vice- minister of the Service Bureau, was
Atsumori, who held no office.

EL 112 Survey of Afro- Asian Literature

He went out to the shore to board the royal ship, but as he forgot his treasured bambooflute
called Little Branch in the main. Later it might fall into the enemy’s hands. So he went back to
the main camp and recovered it. When he came out to the shore again, the royal ship and those
of the soldiers were all out at sea. His steed was strong. He tried to make him swim but as he
spurred him, Kumagae Jiro Naozane, who came from the Province of Musashi, opened his fan
and beckoned him back with it. Soon Atsumori returned ashore. They grasped each other and
down they fell between the horses by the shore. Huge heroic man that Kumagae was, he held
Atsumori accordingly and pressed him down, but, looking under the helmet as he was about to
behead him, he saw that Atsumori seemed fifteen or sixteen years old, with his face powdered
and his teeth dyed deep black. He seemed splendid and gallant.

Kumagae wanted to spare him, but as he glanced back there came galloping Dohi and Kaji-
wara, followed by some ten other braves. “I would like to spare you,” he said, “but many on my
side are coming, as you see. By my hand you must fall. I shall pray most earnestly for you.” So
saying, Kumagae beheaded him.

As he looked at the corpse, there was a bamboo flute in a brocade bag worn by his hip.
Thereupon it was presented to the general for inspection. Certainly in a situation such as this,
anyone who still carried his bamboo flute; even among the nobles, was most elegant, they said,
and all wet their armor’s sleeves with tears.

Later when they investigated who he was, it was Atsumori who held no office, the son of Lord
Tsunemori. According to what people say, Kumagae renounced this world to pray for Atsu-
mori’s memory; however, if he were such a man, he should have saved Atsumori at that time.
Since he did not, he must be a hypocrite. Let that Kumagae come to this place, and he would be
struck down to be offered as a prayer for Atsumori’s memory. So they say. Well, this is what
we’ve heard. Please tell me why you ask me about this. Lately I have felt something strange
around here.

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5. Memorial service by Rensei

Rensei holds a memorial service for Atsumori through the night.

6. The ghost of Atsumori Enters

(Following the issei music, the nochi - jite, Taira no Atsumori, wearing the Atsumori mask;
a flowing black wig (kuro tare); a tall black cap (naishiu chieboshi); a long silk. "loose,
unlined, broad-sleeved outer robe (choken); a white headband (shiro hachimaki); a collar
in white and red (eri shiro aka); a thickboard heavy kimono (atsuita); a white broad

EL 112 Survey of Afro- Asian Literature

divided skirt (shiro oguchi); a waist band (kishiobi); a fan (ogi); and a long sword (tachi)
,enters the stage and stands at the shite seat, where facing stage front, he sings the
following verse.)

7. Dialogue between Atsumori and Rensei

The ghost of Atsumori is delighted at being given the chance for enlightenment thanks to the
memorial rites performed by Rensei. He tells Rensei that an old enemy has become a friend that
day and announces he will start his confession during the night.

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From the original text:

All the flowers in the springtime

Rising toward the treetops higher

Lift us and inspire us all to true salvation,

And the moon of autumn

Shines across the water on its bed

To reveal its form to save

All the lowly beings.

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8. Atsumori’s Story

Fort the sake of becoming Buddha, the ghost of Atsumori begins recounting his confession of his
sins in life.

He describes the Heike clan's escape from Kyoto in the autumn of 1183, their forlorn lives in
Suma Bay, and the decline of the entire clan.

---------------------------------------------------------------------------------------------------------------------

From the original text:

As the morning glory blooms

EL 112 Survey of Afro- Asian Literature

Only for a day with its glowing splendour,

So the law that glorified good and teaches men

did not realize its goal for a moment brief

like flintstone’s spark for we were all thoughtless,

hampered by accustomed habits in this fleeting world.

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9. Dance of Atsumori

The ghost of Atsumori recounted the party held the night before the battle and recreated his
dance at the party.

10. Atsumori’s war story

He shows the past battle scene in which Atsumori came to the beach at Ichi-no-tani to
embark on a boat, but Kumagai called after him to challenge him to single combat. Atsumori
leaves asking Rensei (Renshō), whom he feels like not an enemy but a close friend, to pray
for his soul.

----------------------------------------------------------------------------------------------------------------

From the original text:

“My enemy is here”, he shouts as he’s about to strike him:

“Evil I repay with good,” for the prayers you have said for me calling on Amidas’s name, so
at last we surely too shall be born again on the same lotus seat.

Rensei, truly named you are no mortal foe anymore, oh, priest, who says the holy prayers for
my memory.

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EL 112 Survey of Afro- Asian Literature

IV. Conclusion

Indeed, the noh play in Japan is one of the significant evidence on how Japanese people value
their culture and traditions. It is admiring that despite Japan is one of the most progressive and
modern country today, still their historical culture and even form of entertainment is still
practice, preserve, and value by the people. Also, the play Atsumori is also a reflection of the
religion and beliefs of most Japanese people. It is a proof that religion drives them to be the
person they are and the one which shapes their values and practices in life.

V. References

Atsumori.Retrievedfrom:
https://www.google.com.ph/url?sa=t&source=web&rct=j&url=http://www.cocospa.org/userfiles/
31/Classes/2730/atsumori%2520%

Carpio, R.C. (2006). Crisscrossing through Afro-Asian Literature. Anvil Publishing, Inc.: Pasig
City, Philippines.

EL 112 Survey of Afro- Asian Literature