Part 5
That autumn now has come I cannot see, And yet I feel it for the wind has brought Tidings from somewhere, tho’ I know not whence.
HITOMARU
Ah, knowing not my father’s whereabouts In misery I wander, with no place Where I can rest even a little while.
KAGEKIYO
Nay, in the three worlds there is not a place, ’Tis only in the heavenly expanse.[34] Choose any man and ask him, he will say “Where else!” And what else could he ever say?
SERVANT
How now, you in the thatched hut, I would ask A question of you.
KAGEKIYO
Well; what is it then?
SERVANT
Knowest thou where dwells an exiled man?
KAGEKIYO
An exile though he be, what is his name?
SERVANT
The Boist’rous Kagekiyo is he called, And of the Taira house, a warrior.
KAGEKIYO
Yes, yes, I think that I have heard of him, Though being blind the man I’ve never seen. Miserable, his honourable state! To hear of which stirs pity in my breast. Pray then inquire elsewhere the full account.
SERVANT
Then hereabouts he does not seem to be.
[_To his mistress_]
But further on we should inquire again If you will honourably now proceed.
KAGEKIYO
She who has just been here--Why! is she not The very child of this selfsame blind man? Once, very long ago, at Atsuta I met a woman, and this child I got. It was a girl,[35] and so I trusted her To Kamegaegatsu’s châtelaine. Now grieving parent meets with child estranged; She, speaking to her father, knows it not.
CHORUS
Her form unseen, although I hear her voice, How sad my blindness is! Without a word I let her pass. And yet such action is Due truly to the bond of parent’s love, Due truly to the bond of parent’s love.
SERVANT
How now, you there! Art thou a villager?
VILLAGER
And to the Villager what hast thou then Of honourable business?
SERVANT
Dost thou know Where lives an exiled man?
VILLAGER
What sort of man-- An exile though he be--of whom you ask?
SERVANT
A warrior of the Hei house, and called Kagekiyo the Boist’rous, him I seek.
VILLAGER
Just now as thou hast come along this way Upon the hill-side, was there not a hut, A hut with thatch, and somebody within?
SERVANT
Yes, a blind beggar sat within the hut.
VILLAGER
Aye. That blind beggar is the man you seek, The very Kagekiyo whom you seek! How strange! When I said Kagekiyo’s name That honourable lady there did deign To show a look of sadness. Why was that?
SERVANT
Thy wonder is most reasonable. Naught Shall I conceal from thee. Kagekiyo’s Most honourable daughter is the maid Who hopes once more her honoured sire to meet. That being so, and as from far away She has come hither, I pray thee devise Some proper way of speaking face to face With Kagekiyo.
VILLAGER
Oh, unutterable! Is she his honourable daughter then? Well, calm your heart, and pray you deign to hear. The sight of both eyes Kagekiyo lost; So helpless, he cut short his hair and called Himself Kōtau of Hiuga and he begs For his poor living from the travellers, And with the pity of such lowly folk As we ourselves, he just sustains his life. And that he doth not tell his name must be Shame for the contrast with the olden days. At once I shall go with you and call out “Kagekiyo”--and if it is his name Then will he answer and you can observe Him face to face, and of the distant past And of the present you shall tell him all. Pray come this way.
Holloa! in the thatched hut Is Kagekiyo there within? Is there The boisterous Kagekiyo?
KAGEKIYO
Worrying, Worrying, even if my state were well. And even though these people came from home, Shame for this very self compels me now Without my name to let them go--and yet-- And yet it rends my heart and the sad tears As of a thousand streams run down my sleeves. I waken with the thought that earthly things Are naught, and but as visions in a dream. I am resolved in this world now to be As one who is not, and if they will call This beggar Kagekiyo, why reply? Moreover in this province I’ve a name--
CHORUS
That name in Hiuga facing to the sun,[36] In Hiuga, facing to the sun is not The name they call, but they return to one Of the old days, discarded long ago, Which with my helplessly dropped bow I dropped. Wild thoughts again I never will excite And yet I’m angry.
KAGEKIYO
Though while here I live In this place.
CHORUS
While I live In this place; if I stir the hate of those With means, how helpless would I be! and like A blind man who had lost his walking-stick. A crippled man am I, and yet I dared Unreasonable words to use in wrath. Forgive I pray!
KAGEKIYO
Blind are my eyes and yet--
CHORUS
Blind are my eyes and yet I surely know Another’s thought hid in a single word. And if upon the mountains blows the wind Against the pine trees, I can tell its source, Whether it comes from snow or unseen flowers,-- Flowers only seen in dreams from which to wake Is to regret! Again if in the bay Upon the rough sea beaches dashing waves Are heard, then I well know the evening tide Is rising. Aye, to the great Taira clan I do belong, and so to pleasure them I’d give recitals of those olden days.
KAGEKIYO
How now, I wish to say a word to thee, For it has troubled me that I just now Used such quick-tempered words. For what I said I pray thee pardon me.
VILLAGER
Well, that is naught. So never mind it. And, has no one come, To make inquiries here before I came?
KAGEKIYO
No, no. Except thy calling, none has been.
VILLAGER
Ho! ’Tis a lie thou sayest. Certainly Did Kagekiyo’s noble daughter come. Wherefore dost thou conceal? It is because I feel her story is so pitiful That I’ve come here with her.
[_To HITOMARU_]
So now at once Meet with your father, see him face to face
[_KAGEKIYO keeps silence_]
HITOMARU
Pray, it is I, I who have come to you. Cruel! The rain, the wind, the dew and frost I minded not along that distant road, While coming to you! And all this, alas, Becomes as nothing! Does a Father’s love Depend upon the nature of the child?[37] Ah, heartless!
KAGEKIYO
Up till now I hoped to hide, But now I am found out I am ashamed. To hide my fleeting[38] self there is no place.
[_To HITOMARU_]
If, in thy flowering form thou shouldst proclaim That we are child and parent, then thy name Thou wouldst announce,[39] and when I think on this I am resolved we part. Pray do not feel Thy father harsh and this mere heartlessness!
CHORUS
Ah, truly is it sad! In olden times I welcomed even strangers when they called, And was displeased if they should pass me by. And now its recompense! How sad it is! To think that I had hoped that my own child Should not have called on me. Alas, how sad! When in their warships were the Taira clan, When in their warships were the Taira clan, So many were there that their shoulders touched And in the crowded space the knees were crossed. There scarce was room to live[40] beneath the moon-- And Kagekiyo more than any else Was on the flagship indispensable. His fellow officers and all the rest Though rich in valour and in tactic powers He did o’ertop. And as the ship is steered By him who holds the rudder, so did he Lead in the army and no difference Ever occurred between him and his men. All envied him, but now he is most like A Unicorn, infirm with hoary age And rather worse than a mere useless horse.[41]
VILLAGER
How now, Kagekiyo, I’d speak with thee! Thy daughter’s wish is there, and she would hear Of thy heroic deeds at Yashima So tell her the brave story. Let her hear.
KAGEKIYO
’Tis somewhat unbecoming, her request! Yet as she came from far and for my sake, I’ll tell the story, but when it is done Pray send her home again immediately.
VILLAGER
That shall be done. Thy story finished, I Will send her back at once.
KAGEKIYO
Well then. The time Was drawing toward the end of the third month Of the third year of _Ju-ei_,[42] and our clan Were in their warships while upon the land The hordes of Minamoto gathered near. Two armies were opposed upon the coast And each one wished a contest to decide. Then Noritsune, Lord of Noto, spoke To all his people--“In our last year’s fights From Muroyama down in Harima To Mizushima, Hiyodorigoe And all, we never had one victory. To Yoshitsune’s[43] tactics this was due. “By some means or another we must slay This Kuro, and suggestions we desire Of some good plan;” he deigned to say to them. Then Kagekiyo in his mind resolved That Hangwan was no devil nor a god, So if I throw away my life for his, I thought, it will be easy, so that this To Noritsune was my last farewell. And as I landed the Gen warriors Did dash towards me to destroy my life.
CHORUS
This Kagekiyo saw, This Kagekiyo saw, and crying out “How clamorous!” He struck out with his sword That in the evening sun flashed brilliantly. Th’ opposing warriors at once gave way, And he pursued, that they should not escape.
KAGEKIYO
This is deplorable for every one--
CHORUS
This is deplorable for every one! ’Tis mutual shame alike for the Gen clan And for the Hei clan to look upon So shouted I--thinking to stop one man Is easy, and so underneath my arm Carrying my sword--“A warrior am I Of the great Hei clan, Kagekiyo Some call the Boisterous,” and thus crying out To seize them I pursued them. Then I caught On Mihonoya’s helmet, but it slipped. Again I caught, but once again it slipped And thus three times did he escape, though I Determined that he should not flee, for he, He was the foe that I had chosen. Eiya! As with the whole strength of my arms I pulled, and as I hauled the cape broke off, And part stayed in my hand,[44] but he escaped. When at some distance from me, he turned back And said, “Now thou art mighty strong of arm Although thou didst allow me to escape.” Then Kagekiyo answered back, “The strength Lies in the neck bone of Mihonoya.” So smiling, did we part to left and right.[45]
He who has told the tale of olden days-- Days ne’er forgotten--is now sadly waned And e’en confused in mind. Ah, what a shame! The end of all this woe of life is near, For in this world at most my time is short. At once return,[46] and when I am no more I pray thee deign to offer prayers for me. That in dark places there shall be a light For this blind man, and over evil roads A bridge. So will I look upon thy prayers. “I stay,” said he, and she “I go,” His ears retained but her one word “I go.” And thus between the parent and the child This was the legacy at last exchanged-- Between the parent and the child exchanged.
END OF “KAGEKIYO”
FOOTNOTES:
[29] Page 53--Kagekiyo’s full name is _Aku-Shichibioe Kagekiyo_. _Aku_--literally means “wicked”; but sometimes has a special meaning of “wild” or “boisterous,” as in the present case, where it intimates that the man is rough in manners and strong in arms.
[30] I have put this all in one metre, making no difference between the “words” and “song.” (See p. 33.)
[31] Page 56--In the original it reads, “Kamegaegayatsu in Kamakura”; but as this will not fit into any possible metre the first word is left out.
[32] Page 56--_Taira_ becomes _Hei_ when compounded with a following character; thus Taira House is _Hei-Ke_. Similarly “Minamoto” becomes _Gen_, thus _Gen-ji_ is the Minamoto family.
[33] Page 57--_Tōtōmi_, the name of one of the provinces through which they came, means “distant bay.” Also _to_ or _tou_ with a different ideagraph means “to ask.” _Mikana_, the name of another province through which they passed, means “three rivers,” which leads to the idea of bridges. But more than that, Mikana is noted for its eight bridges, spanning over the streams which branch off like the legs of a spider, which is _kumo_ in Japanese; and this idea leads on to that of “clouds,” which are pronounced _kumo_, though written with a different ideagraph. The idea of “clouds” leads on, finally, to that of the “capital,” where only those of high rank “above the clouds” are dwelling.
[34] Page 59--Kagekiyo takes up Hitomaru’s words, originally used in a simple, physical sense, and applies them to the spiritual world. It is, nevertheless, not supposed to be a dialogue; each is soliloquising.
[35] Page 60--And therefore could play no part in his warlike schemes.
[36] Page 63--The Chinese character for the name of the province means “facing the sun.”
[37] Page 65--Meaning that if she had been a boy he would have welcomed her; but now he takes no account of her hardships and difficulties in reaching him.
[38] The words used give a suggestion of dew-like.
[39] Page 65--Proclaiming herself the child of an exile and beggar, to her social detriment.
[40] Page 66--The word _sumu_, “to live,” also signifies “clear,” which is associated in poetry with the moon, which in its turn leads to the thought of shadow, _Kage_ leading to Kagekiyo.
[41] Page 66--A mythical animal, of which the nearest translation is perhaps the unicorn. There is a proverb which states that though it is the king of beasts, when old it is worse than a useless horse.
[42] Page 67--That is in the year 1185.
[43] Page 67--Yoshitsune’s complete name was _Kurō Hang wan Yoshitsune_. One of these, or all three names may be applied to him. As the three names make an impossible encumbrance for a line I only give him one, even where the Japanese original calls him by his full name.
[44] Page 68--The jointed cape of his opponent’s armour.
[45] Page 68--The Minamoto clan were victorious, and when in power they banished Kagekiyo as a specially dangerous enemy.
[46] The Chorus here speaks for Kagekiyo to Hitomaru.
TAMURA
RÉSUMÉ OF TAMURA
DRAMATIS PERSONÆ
_Shite_: The Spirit of TAMURAMARU, a renowned warrior, in the first part appearing as a youth, and in the second as a warrior.
_Waki_: A Travelling Priest.
_Chorus._
SCENE
The temple ground of Kiyomizu in Kioto, in March. The shrine of Tamuramaru is erected in this ground.
There are only two actors in this piece, and it is even less dramatic than the preceding. As it does not lend itself so well to complete translation, I shall give the piece merely as a _résumé_, with a few of the more beautiful lines rendered _in extenso_. This drama is an admirable example of the use of a delicately toned, flower-like foreground, as a setting for the warlike figure who recites tales of his strenuous life, which is so characteristic of the construction of the _Nō_.
* * * * *
The PRIEST enters first, and, as is often the case at the beginning of a _Nō_, he recites an account of his hurried journey in the spring, past the provincial capitals to the “nine-fold capital of the Emperor” (Kioto). He speaks of the mild sky of the spring with the sun shrouded by soft haze, and announces that he has now arrived at the Temple of Kiyomizu (meaning clear water) with its peaceful waterfalls.
The YOUTH (Tamuramaru) now appears with a broom in his hand. He says: “The spring has returned, and the flowers in their prime beauty make natural offerings for the Goddess of the Temple. Though there are many places famous for their blossoms they do not equal these, which are illuminated by the light of Kannon’s[47] mercy, and this divine mercy, bright as the autumn moon, even penetrates the village of the ten evils and shines upon the lake of the five vices. These flowers look like snow in the garden of the gods or white sand on the shore of heaven’s sea, in which the mist and the clouds are all buried. So many of them there are, and all are cherry flowers, some eight-fold, some single-fold, as is the way in the spring of the nine-fold capital. And all the mountains far and near likewise reflect the season of flowers.”
Beholding the Youth sweeping the petals, the PRIEST asks him if he is the flower keeper. To this the YOUTH replies in the affirmative, saying that he serves the Goddess of the Temple and that as he always sweeps the petals in the season he may be looked on as the flower keeper, or at any rate as one in the service of the Temple.
The PRIEST then asks him to relate minutely the history of the Temple. Into this narrative the Youth plunges directly, stating that the Temple was built in the second year of Daido[48] and founded by the wish of Tamuramaru of Sakanoue. He continues to relate that there was once a priest called Kenshin who had a great desire to behold the real form of Kannon, and after his prayer he once saw a golden-coloured light on the upper stream of the river Kotsu. He followed it and found an old man, who said that he was Gyoe-Koji and told Kenshin to discover a patron who would found a magnificent temple. But this so-called Gyoe-Koji was really Kannon herself, and Tamuramaru was the patron of whom she spoke. The CHORUS then speaks, for the Youth, of the universal benevolence of Kannon, symbolised by her thousand merciful hands, every one of which is ready to be extended to those in need, in answer to their prayers.
The PRIEST declares that he has met an interesting person, and asks for further information about the famous places around, questioning the Youth about one to the south, where a mound is to be seen, and then one to the north, whence an evening bell is heard. The YOUTH, after replying that the one is the Seikan Temple and the other the Temple of Washinowo, both famous in poetry, calls the attention of the Priest to the moon rising from behind the Otowa mountain, and observes that as the moon casts its peaceful light upon the cherry blossoms it is a sight truly worth seeing.
The PRIEST says--
This is a season to be prized indeed, This passing moment of a heartless Time That flies so swiftly in the midst of Spring.
The YOUTH and the PRIEST both repeat: “A precious moment indeed!” Then together they recite an old poem: “As precious as a thousand pieces of gold is one moment of a spring evening with flowers of pure perfume and the moon of silver brightness,” the YOUTH adding, “Ay, more precious still is this very moment!”
The CHORUS chants in further praise of the flowers in the Temple ground--
The moon between the cherry trees shines clear And petals softly falling in the breeze Dance in the air like gleaming flakes of snow And make our hearts dance with them, light and glad.
A second chant of the CHORUS enlarges on the beauty of the flowers, the greenness of foliage, the softness of the breeze and the charm of the waterfall of Otowa, and concludes by referring once more to the merciful light of the Goddess of the Temple, which is extended even to inanimate objects, such as trees, and which accounts for the exquisite scenery of the surroundings.
The CHORUS then asks (for the Priest) the name of the Youth, who does not appear to be an ordinary person. To this the YOUTH replies: “A nameless man am I, but if thou wishest to know who I am, observe where I am going.” The CHORUS explains that the Youth then opens the door of the Shrine of Tamuramaru, which is brightly lit by the moon, and disappears within.
The second part of the Play opens with the PRIEST saying: “Under the shadow of a cherry tree all through the night I stand, the petals fall and dance in the air, the moon shines brilliant and clear, and in these beautiful surroundings I say the midnight prayer.”
TAMURAMARU then appears in the form of a warrior, saying: “How thankful am I to hear the voice of prayer, the midnight prayer from a passing stranger! ’Tis Kannon’s mercy, her help. Oh, how grateful I am!”
The PRIEST observes how strange it is that he sees a manly figure in the light of the glittering flowers, and asks who it is.
To this TAMURAMARU replies that he has now nothing to conceal, and begins to tell the story of his life by stating that in the reign of Emperor Heize[49] he was Tamuramaru of Sakanoue, who was to conquer the Eastern barbarians, the fiends, and that by the help of the Goddess of this Temple he had power to do it. The story is then told by the CHORUS, who recounts that, according to the Emperor’s declaration, the powerful and rebellious fiends in Seishu must be put down and peace must be restored. Tamuramaru collected the army, and when ready to start he came to this Temple and prayed to Kannon that he might gain the victory. “There was a strange but good omen,” breaks in TAMURAMARU, and the CHORUS goes on to recount with what exultation he set out at once to strike at the rebels.
Another chant of the CHORUS describes the march of Tamuramaru and his army to the seat of the rebels. They travelled far, going over the mountain pass of Ōsaka and through the forest of Awazu; stopping to adore the Temple of Ishiyama, noted for its mirage, where also Kannon is enshrined; and crossing over the long bridge of Seta, which resounded gallantly as horses trotted over it. At last they reached the province of Isé (or Seishu), and, convinced of their victory, for they were waging a just war, were more encouraged than ever, every one of them desiring to show his bravery and strike the first blow at the rebels. Happily, moreover, with the help of Kannon, the fiends, though they were numerous, were unconscious of their arrival.
With thundering voice, which shook trees and rivers, even the mountains, and which echoed through the heavens and reached to the deepest earth, TAMURAMARU then spoke thus: “You, fiends, hear what I say. In older times there was once a rebel called Chikata, and the heavenly punishment descended upon him and the fiends who served him, and they were at once defeated.”
The CHORUS then describes how the fiends came on in battle, raising thick clouds and pouring down iron-fire, and by their magic art creating thousands of armed men. They looked like the sea of Isé, or the forest of Ano, so mighty were they and so numerous!
TAMURAMARU breaks in: “There behold, how astonishing!” and the CHORUS goes on to explain that over his own army the light of the thousand-handed Kannon appeared, flying in space, with a bow of mercy and arrows of wisdom in each of her thousand hands, so that the arrows poured down like rain and hail over the enemy till all were struck and not one was left alive. Hence it was by Kannon’s power that the victory was gained, and to her should be rendered eternal gratitude.
The play, which was written essentially in praise of the virtues and powers of Kannon, is attributed to Motokiyo, the author of Kagekiyo (see p. 53).
END OF “TAMURA”
FOOTNOTES:
[47] Or Kwannon, the Goddess of Mercy, one of the principal deities in the popular religion of Japan to-day.
[48] = 807 A.D.
[49] The reign of Emperor Heize = 806-809 A.D.
THE SUMIDA RIVER
Authorship of the Play
The play is attributed to _Motomasa_, who was a grandchild of the famous Kiyotsugu (see p. 7) and who died in 1459. The exact date of its composition is uncertain, but it was most likely within the first half of the fifteenth century.
Outline of the Story
A little child, the only son of his widowed mother (and owing to the laws regarding the continuation of families in Japan that means much more there than it does in Europe), was kidnapped from his home. The play opens a year after this had happened, and we meet the mother hurrying toward the Sumida river, which she crosses in the ferry. She has had a long journey from the City Royal (Kioto) in her search for the child. While she is in the ferry, the ferryman tells the passengers of a festival to be held in the place that evening in memory of a little lad who died on the road just a year ago. The mother questions him, and learns that it is _her_ child for whom the villagers are about to meet in prayer. The ferryman prevails on her to join in the prayers, and for a moment the ghost of the little one appears and speaks with her.