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The Nō Plays of Japan

Chapter 81: Transcriber’s Note
By Arthur Waley
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Plays/Films/Dramas

About This Book

A selection of classical Noh drama translated into English presents a curated sequence of short plays enlivened by ritualized song, masked performance, and spare poetic imagery. An extended introduction explains stage layout, role types, musical and choral practice, and a note outlines relevant Buddhist ideas. The translations are arranged in chapters with concise plot summaries, an appended comic kyōgen, stage plans, illustrations, and bibliographic and explanatory appendices. Recurring concerns include memory and loss, encounters with the supernatural, lyrical reminiscence, and the interplay of silence, gesture, and music that defines the theatrical form.

Transcriber’s Note

The play “Haku Rakuten” has an Act II, but no Act I.

Illustrations have been moved next to the text which they illustrate. and may not match the locations in the List of Illustrations.

All instances of “i.e.” have been regularised to “i. e.”.

  • p. 2 “New York Herald” changed to “New York Herald.”
  • p. 14 “kyōgen’s seat.” changed to “kyōgen’s seat.”
  • p. 14 “p. 205” changed to “p. 174”
  • p. 19 “translated on p. 134” changed to “translated on p. 100”
  • p. 22 (note) “p. 268” changed to “p. 32”
  • p. 24 “may mimed” changed to “may be mimed”
  • p. 32 “Myōhō” changed to ““Myōhō”
  • p. 32 “p. 227” changed to “p. 229”
  • p. 35 “p. 224” changed to “p. 226”
  • p. 37 “p. 224” changed to “p. 226”
  • p. 37 “p. 225” changed to “p. 227”
  • p. 38 The lines “REAPER. / And music of many instruments ...” were printed in reverse order.
  • p. 74 The lines “from Heaven. And here you are shedding tears over it! What is the / matter?” were printed in reverse order.
  • p. 79 “assauit” changed to “assault”
  • p. 79 The lines “Roll, The Blade Drop, The Gnashing Lion, The Maple-Leaf Double, / The Flower Double.” were printed in reverse order.
  • p. 83 “p. 142” changed to “p. 142)”
  • p. 91 “loking” changed to “looking”
  • p. 97 “chiefly!” changed to “chiefly!””
  • p. 106 (note) “p. 246” changed to “p. 148)”
  • p. 110 “warriers” changed to “warriors”
  • p. 119 ““without” changed to ““without””
  • p. 127 “comorant-fisher” changed to “cormorant-fisher”
  • p. 145 “Rukujō” changed to “Rokujō”
  • p. 163 “Pillow of Kantan.” changed to “Pillow of Kantan.””
  • p. 167 “intent.” changed to “intent.””
  • p. 190 “City” changed to “City.”
  • p. 197 “Enter the ACOLYTE” changed to “Enter the ACOLYTE.”
  • p. 201 “speak-” changed to “speaking”
  • p. 220 “work” changed to “word”
  • p. 230 “it is my” changed to “it in my”
  • p. 237 “HIS SECOND WIFE.” changed to “HIS SECOND WIFE.”
  • p. 240 “litttle” changed to “little”
  • p. 248 “footbball ballet” changed to “football ballet”
  • p. 249 “disappeared.” changed to “disappeared.””
  • p. 251 “Mr Sansom” changed to “Mr. Sansom”
  • p. 251 “(p. 265)” changed to “(p. 267)”
  • p. 256 (note) “p. 169” changed to “p. 127”
  • p. 260 “History of Japanese Literature” changed to “History of Japanese Literature”
  • p. 268 “The poles” changed to ““The poles”

The following possible errors have not been changed:

  • p. 137 upon him
  • p. 137 turned,
  • p. 161 chrysanthem-dew

The following are used inconsistently in the text:

  • Bijinzoroye and Bijin-zoroye
  • bowstring and bow-string
  • framework and frame-work
  • Isé and Ise
  • Kántán and Kantan
  • reborn and re-born
  • seagulls and sea-gulls
  • seaweed and sea-weed
  • springtime and spring-time
  • Yūya and Yuya