Sacred Texts
Shinto
Buddhism
| | 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