- KANTAN
- THE H?KA PRIESTS
- HAGOROMO
Note on Kantan.
A young man, going into the world to make his fortune, stops at an inn on the road and there meets with a sage, who lends him a pillow. While the inn-servant is heating up the millet, the young man dozes on the pillow and dreams that he enters public life, is promoted, degraded, recalled to office, endures the hardship of distant campaigns, is accused of treason, condemned to death, saved at the last moment and finally dies at a great old age. Awaking from his dream, the young man discovers that the millet is not yet cooked. In a moment’s sleep he has lived through the vicissitudes of a long public career. Convinced that in the great world “honour is soon followed by disgrace, and promotion by calumny,” he turns back again towards the village from which he came.
Such, in outline, is the most usual version of the story of Rosei’s dream at Kantan. The earliest form in which we know it is the “Pillow Tale” of the Chinese writer Li Pi, who lived from 722 to 789 A. D.
It is interesting to see how Seami deals with a subject which seems at first sight so impossible to shape into a No play. The “sage” is eliminated, and in the dream Rosei immediately becomes Emperor of Central China. This affords an excuse for the Court dances which form the central “ballet” of the piece. In the second half, as in Hagoromo and other plays, the words are merely an accompaniment to the dancing.
Chamberlain’s version loses by the fact that it is made from the ordinary printed text which omits the prologue and all the speeches of the hostess.
The play is usually attributed to Seami, but it is not mentioned in his Works, nor in the list of plays by him drawn up by his great-grandson in 1524.
It is discussed at considerable length in the Later Kwadensho, which was printed c. 1600. The writer of that book must therefore have regarded the play as a work of Seami’s period. It should be mentioned that the geography of the play is absurd. Though both his starting-point and goal lie in the south-western province of Ssechuan, he passes through Hantan,[146] which lay in the northern province of Chih-li.
KANTAN
PERSONS
- HOSTESS.
- ROSEI.
- ENVOY.
- TWO LITTER BEARERS.
- BOY DANCER.
- TWO COURTIERS.
- CHORUS.
HOSTESS
I who now stand before you am a woman of the village of Kantan in China. A long while ago I gave lodging to one who practised the arts of wizardry; and as payment he left here a famous pillow, called the Pillow of Kantan. He who sleeps on this pillow sees in a moment’s dream the past or future spread out before him, and so awakes illumined. If it should chance that any worshipful travellers arrive to-day, pray send for me.
(She takes the pillow and lays it on the covered “daÏs” which represents at first the bed and afterwards the palace.)
ROSEI (enters).
Lost on the journey of life, shall I learn at last
That I trod but a path of dreams?
My name is Rosei, and I have come from the land of Shoku. Though born to man’s estate, I have not sought Buddha’s way, but have drifted from dusk to dawn and dawn to dusk.
They tell me that on the Hill of the Flying Sheep in the land of So[147] there lives a mighty sage; and now I am hastening to visit him that he may tell by what rule I should conduct my life.
(Song of Travel.)
Deep hid behind the alleys of the sky
Lie the far lands where I was wont to dwell.
Over the hills I trail
A tattered cloak; over the hills again:
Fen-dusk and mountain-dusk and village-dusk
Closed many times about me, till to-day
At the village of Kantan,
Strange to me save in name, my journey ends.
I have travelled so fast that I am already come to the village of Kantan. Though the sun is still high, I will lodge here to-night. (Knocking.) May I come in?
HOSTESS.
Who is it?
ROSEI.
I am a traveller; pray give me lodging for the night.
HOSTESS.
Yes, I can give you lodging; pray come this way.... You seem to be travelling all alone. Tell me where you have come from and where you are going.
ROSEI.
I come from the land of Shoku. They tell me that on the Hill of the Flying Sheep there lives a sage; and I am visiting him that he may tell me by what rule I should conduct my life.
HOSTESS.
It is a long way to the Hill of the Flying Sheep. Listen! A wizard once lodged here and gave us a marvellous pillow called the Pillow of Kantan: he who sleeps on it sees all his future in a moment’s dream.
ROSEI.
Where is this pillow?
HOSTESS.
It is on the bed.
ROSEI.
I will go and sleep upon it.
HOSTESS.
And I meanwhile will heat you some millet at the fire.
ROSEI (going to the bed).
So this is the pillow, the Pillow of Kantan that I have heard such strange tales of? Heaven has guided me to it, that I who came out to learn the secret of life may taste the world in a dream.
As one whose course swift summer-rain has stayed,
Unthrifty of the noon he turned aside
To seek a wayside dream;
Upon the borrowed Pillow of Kantan
He laid his head and slept.
(While ROSEI is still chanting these words, the ENVOY enters, followed by two ATTENDANTS who carry a litter. The ENVOY raps on the post of the bed.)
ENVOY.
Rosei, Rosei! I must speak with you.
(ROSEI, who has been lying with his fan over his face, rises when the ENVOY begins to speak.)
ROSEI.
But who are you?
ENVOY.
I am come as a messenger to tell you that the Emperor of the Land of So[148] resigns his throne and commands that Rosei shall reign in his stead.
ROSEI.
Unthinkable! I a king? But for what reason am I assigned this task?
ENVOY.
I cannot venture to determine. Doubtless there were found in your Majesty’s countenance auspicious tokens, signs that you must rule the land. Let us lose no time; pray deign to enter this palanquin.
ROSEI (looking at the palanquin in astonishment).
What thing is this?
A litter spangled with a dew of shining stones?
I am not wont to ride. Such splendour! Oh, little thought I
When first my weary feet trod unfamiliar roads
In kingly state to be borne to my journey’s end.
Is it to Heaven I ride?
CHORUS.
In jewelled palanquin
On the Way of Wisdom you are borne; here shall you learn
That the flower of glory fades like a moment’s dream.
See, you are become a cloud-man of the sky.[149]
The palaces of ancient kings
Rise up before you, Abo’s Hall, the Dragon’s Tower;[150]
High over the tall clouds their moonlit gables gleam.
The light wells and wells like a rising tide.[151]
Oh splendid vision! A courtyard strewn
With golden and silver sand;
And they that at the four sides
Pass through the jewelled door are canopied
With a crown of woven light.
In the Cities of Heaven, in the home of Gods, I had thought,
Shine such still beams on walls of stone;
Never on palace reared by hands of men.
Treasures, a thousand kinds, ten thousand kinds,
Tribute to tribute joined, a myriad vassal-kings
Cast down before the Throne.
Flags of a thousand lords, ten thousand lords
Shine many-coloured in the sky,
And the noise of their wind-flapping
Rolls round the echoing earth.
ROSEI.
And in the east
CHORUS.
ROSEI.
And in the west
Over a golden hill of thirty cubits height
A silver moon-wheel rose,
To prove his words who sang
“In the Palace of Long Life[152]
The Springs and Autumns cease.
Before the Gate of Endless Youth[153]
The days and months pass slow.”[154]
COURTIER.
I would address your Majesty. Your Majesty has reigned for fifty years. Deign but to drink this drink and you shall live a thousand years. See! I bring you the nectar and the grail.
ROSEI.
The nectar?
COURTIER.
It is the wine that Immortals drink.
ROSEI.
The grail?
COURTIER.
It is the cup from which they drink.
ROSEI.
The magic wine! A thousand generations shall pass
COURTIER.
Or ever the springtime of your glory fade.
ROSEI.
I bountiful ...
COURTIER.
Your people prosperous.
CHORUS.
For ever and ever
The land secure;
The flower of glory waxing;
The “herb of increase,” joy-increasing
Into the cup we pour.
See! from hand to hand it goes.
“I will drink,” he cries.
ROSEI.
Go circling, magic cup,
CHORUS.
Circling from hand to hand;[155]
As at the Feast of Floating Cups[156]
Hands thrust from damask sleeves detain
The goblet whirling in the eager stream;
Now launched, now landed![157]
Oh merry flashing light, that shall endure
Long as the Silver Chalice[158] circles space.
BOY DANCER.
The white chrysanthem-dew,
CHORUS.
“The dew of the flowers dripping day by day
In how many thousand years
Will it have grown into a pool?”[159]
It shall not fail, it shall not fail,
The fountain of our Immortality;
He draws, and yet it wells;
He drinks, and to his taste it is as sweet
As the Gods’ deathless food.
His heart grows airy; day and night
In unimagined revel, incomparable pride and glory
Eternally shall pass.
(End of the BOY DANCER’S dance. ROSEI, who has been watching this dance, now springs up in ecstasy to dance the Gaku or Court Dance.)
ROSEI.
The spring-time of my glory fades not ...
CHORUS.
Many times shall you behold
The pale moon of dawn ...
ROSEI.
This is the moon-men’s dance;
Cloud-like the feathery sleeves pile up; the song of joy
From dusk to dawn I sing.
CHORUS.
All night we sing.
The sun shines forth again,
Sinks down, and it is night ...
ROSEI.
Nay, dawn has come!
CHORUS.
We thought the morning young, and lo! the moon
ROSEI.
Again is bright.
CHORUS.
Spring scarce has opened her fresh flowers,
ROSEI.
When leaves are crimson-dyed.
CHORUS.
Summer is with us yet;
ROSEI.
Nay, the snow falls.
CHORUS (speaking for ROSEI).
“I watched the seasons pass:
Spring, summer, autumn, winter; a thousand trees,
A thousand flowers were strange and lovely in their pride.
So the time sped, and now
Fifty years of glory have passed by me,
And because they were a dream,
(At this point an ATTENDANT brings back the pillow, and places it in the “palace” which becomes a bed again.)
All, all has vanished and I wake
On the pillow where I laid my head,
The Pillow of Kantan.”
(The BOY DANCER and the two COURTIERS slip out by the side-door “kirido”; ROSEI has mounted the bed and is asleep.)
HOSTESS (tapping twice with her fan).
Listen, traveller! Your millet is ready. Come quickly and eat your dinner.
ROSEI (rising slowly from the bed).
Rosei has woken from his dream ...
CHORUS.
Woken from his dream! The springs and autumns of fifty years
Vanished with all their glory; dazed he rises from the bed.
ROSEI.
Whither are they gone that were so many ...
CHORUS.
“The queens and waiting-ladies? What I thought their voices”
ROSEI.
Were but the whisperings of wind in the trees.
CHORUS.
The palaces and towers
ROSEI.
Were but the baiting-house of Kantan.
CHORUS.
The time of my glory,
ROSEI.
Those fifty years,
CHORUS.
Were but the space of a dream,
ROSEI.
Dreamed while a bowl of millet cooked!
CHORUS.
It is the Inscrutable, the Mystery.
ROSEI.
Yet when I well consider
Man’s life in the world of men ...
CHORUS.
Then shall you find that a hundred years of gladness
Fade as a dream when Death their sequence closes.
Thus too has ended
This monarch’s fifty years of state.
Ambition, length of days,
Revels and kingly rule,
All, all has ended thus, all was a dream
Dreamed while the millet cooked.
ROSEI.
Glory be to the Trinity,[160]
Glory to the Trinity!
CHORUS.
Seek you a sage to loose
The bonds that bound you to life’s woes?
This pillow is the oracle you sought.
Now shall the wayfarer, content to learn
What here he learnt, that Life is but a dream,
Turn homeward from the village of Kantan.
THE HOKA PRIESTS
(HOKAZO)
By ZENCHIKU UJINOBU (1414-1499)
PERSONS
- MAKINO.
- HIS BROTHER.
- NOBUTOSHI (their father’s murderer).
- NOBUTOSHI’S SERVANT.
MAKINO.
My name is Kojiro; I am the son of one Makino no Sayemon who lived in the land of Shimotsuke. You must know that my father had a quarrel with Nobutoshi, a man of Sagami, and was done to death by him. So this man was my father’s murderer and I ought to kill him. But he has many bold fellows to stand by him, while I am all alone. So the days and months slip by with nothing done.
A brother indeed I have, but he left home when he was a child, made himself into a priest, and lives at the seminary near by.
I am much puzzled how to act. I think I will go across and speak to my brother of this matter. (He goes to the curtain at the end of the hashigakari.) May I come in?
(The curtain is raised and the BROTHER appears.)
BROTHER.
Who is it?
MAKINO.
It is I.
BROTHER.
Come in, brother. What has brought you hither?
MAKINO.
I will tell you. It is this matter of our father’s murder that has brought me. I have been thinking that I ought to kill his enemy, and would have done so but he has many bold fellows to stand by him and I am all alone. So the days and months slip by and nothing is done.
For pity’s sake, decide with me what course we must pursue.
BROTHER.
Brother, what you have said is true enough. But have you forgotten that I left my home when I was but a child and made myself a priest? Since that is so, I cannot help you.
MAKINO.
So you are pleased to think; but men say he is a bad son who does not kill his father’s foe.
BROTHER.
Can you tell me of any that have ministered to piety by slaying a parent’s foe?
MAKINO.
Why, yes. It was in China, I think. There was one whose mother had been taken by a savage tiger. “I will take vengeance,” he cried, and for a hundred days he lay ambushed in the fields waiting for the tiger to come. And once when he was walking on the hillside at dusk, he thought he saw his enemy, and having an arrow already on his bow-string, he shot with all his might. It was nothing but a great rock that he had seen, shaped like a tiger. But his arrow stuck so deep in the stone that blood gushed out from it. If then the strength of piety is such that it can drive an arrow deep into the heart of a stone, take thought, I beseech you, whether you will not resolve to come with me.
BROTHER.
You have cited me a notable instance. I am persuaded to resolve with you how this thing may be effected.
Come now, by what strategy may we get access to our foe?
MAKINO.
A plan has suddenly come into my head. You know that these hoka plays are become the fashion of the day. Why should not I dress up as a hoka and you as a hoka priest? They say that our man is a great lover of the Zen doctrine; so you may talk to him of Zen.
BROTHER.
That is indeed a pretty notion; let me lose no time in effecting it.
I am resolved; in a pilgrim guise
I mask my limbs.
MAKINO.
And I, glad-thoughted,
In a minstrel’s garb go forth.
BROTHER.
Secretly
MAKINO.
We steal from a home
CHORUS.
“Where fain we would stay, but now
Long as life lasts,
Life fickle as the moon of dawn,
No refuge know we
But the haven of our intent.”
(The BROTHERS leave the stage. Enter their enemy NOBUTOSHI, followed by his Servant.)
NOBUTOSHI.
To the home of gods my footsteps turn
To the Sacred Fence that bars
No suppliant’s desire.
I am called Tone no Nobutoshi. My home is in the land of Sagami. Because for much time past I have been troubled with evil dreams, I have resolved to visit the Three Isles of Seto.
(Re-enter the Brothers: MAKINO with bow and arrow in his hand and bamboo sprigs stuck in his belt behind; the BROTHER carrying a long staff to which a round fan is attached.)
BROTHER.
A fine sight are we now!
From priest and laic way alike removed,
Scarce men in speech or form!
MAKINO.
This antic garb shall hide us from the World
More safe than hermit cell;
All earthly thoughts shut out here might we bide
Cloistered in ease. Oh why,
Why back to the bitter World
Are we borne by our intent?
MAKINO and BROTHER.
The flower that has fallen dreams that Spring is done,
There are white clouds to cover
The green hillside ...
MAKINO.
To match the scarlet
Of the autumn leaves
Red sunlight glitters
On the flowing stream.
CHORUS.
Wind at morning, rain at night;
To-day and to-morrow
Shall be part of long ago.
We who pass through a world
Changeful as the dews of evening,
Uncertain as the skies of Spring,
We that are as foam upon the stream,—
Can any be our foe?
SERVANT (seeing them and going towards the hashigakari).
You’re a merry pair of guys! What may your names be?
BROTHER.
Floating Cloud; Running Water.
SERVANT.
And what is your friend’s name?
MAKINO.
Floating Cloud; Running Water.
SERVANT.
Have you then but one name between you?
BROTHER.
I am Floating Cloud and he is Running Water. And now, pray, tell us your master’s name.
SERVANT.
Why, he comes from the land of Sagami, and Nobutoshi ... (here the SERVANT suddenly remembers that he is being indiscreet and stuffs his hand into his mouth) ... is not his name.
BROTHER.
That’s no matter. Whoever he is, tell him that we are only two hoka come to speak with him.
SERVANT.
I will tell him. Do you wait here.
(He goes over to NOBUTOSHI and whispers with him, then comes back to the BROTHERS.)
Come this way.
(NOBUTOSHI comes to meet them, covering his face with a fan.)
NOBUTOSHI.
Listen, gentlemen, I desire an explanation from you.
BROTHER.
What would you know?
NOBUTOSHI.
It is this. They alone can be called priests round whose fingers is twisted the rosary of Tenfold Power, who are clad in cloak of Forbearance, round whose shoulders hangs the stole of Penitence. Such is everywhere the garb of Buddha’s priests. I know no other habit. But you, I see, carry a round fan tied to your pillar-staff. By what verse do you justify the wearing of a fan?
BROTHER.
“In motion, a wind;
In stillness, a bright moon.”
And even as in this one substance
Both wind and moon inhere,
So Thought alone is Truth, and from the mind
Spring all component things.
Such is the sermon of the fan, as a sign we bear it
Of the heart’s omnipotence. It is an emblem
Fools only would decry!
NOBUTOSHI.
The fan indeed teaches an agreeable lesson; but one of you carries a bow and arrow at his side. Are these too reckoned fit gear for men of your profession?
MAKINO.
The bow? Why, surely!
Are not its two horns fashioned
In likeness of the Hare and Crow,
Symbols of the Moon and Sun, of Night and Day?
Here is the primal mystery displayed
Of fair and foul conjoined.[161]
Bears not the God of Love, unsullied king,
A magical bow? Does he not stretch upon its string
Arrows of grace whereby
The armies of the Four Fiends[162] know no rest
CHORUS.
And thus we two are armed,
For though the bow be not bent nor the arrow loosed,
Yet falls the prey unmasked.
(MAKINO draws his bow as though about to shoot; his BROTHER checks him with his staff.)
So says the song. Now speak no more
Of things you know not of.
NOBUTOSHI.
Tell me, pray, from which patriarch do the hoka priests derive their doctrine? To what sect do you adhere?
BROTHER.
We are of no sect; our doctrine stands apart. It cannot be spoken nor expounded. To frame it in sentences is to degrade our faith; to set it down in writing is to be untrue to our Order; but by the bending of a leaf is the wind’s journey known.
NOBUTOSHI.
I thank you; your exposition delights me. Pray tell me now, what is the meaning of this word “Zen”?
MAKINO.
Within, to sound to their depths the waters of Mystery;
Without, to wander at will through the portals of Concentration.
NOBUTOSHI.
And of the doctrine that Buddha is in the bones of each one of us ...?
BROTHER.
He lurks unseen; like the golden dragon[163] when he leaps behind the clouds.
NOBUTOSHI.
If we believe that life and death are real ...
BROTHER.
Then are we caught in the wheel of sorrow.
NOBUTOSHI.
But if we deny them ...
BROTHER.
We are listed to a heresy.[164]
NOBUTOSHI.
And the straight path to knowledge ...
MAKINO (rushing forward sword in hand).
“With the triple stroke is carved.”[165]
Hold! (turning to NOBUTOSHI who has recoiled and drawn his sword.)
“To carve a way to knowledge by the triple stroke” ...
These are Zen words; he was but quoting a text.
This perturbation does little honour to your wits.
CHORUS.
Thus do men ever
Blurt out or blazen on the cheek
Red as rock-rose[166] the thing they would not speak.
Now by the Trinity, how foolish are men’s hearts!
SERVANT (aside).
While my masters are fooling, I’ll to my folly too.
(He slips out by the side door.)
BROTHER (embarking upon a religious discourse in order to allay NOBUTOSHI’S suspicions).
It matters not whether faith and words be great or small,
Whether the law be kept or broken.
CHORUS.
Neither in the “Yea” nor “Nay” is the Truth found;
There is none but may be saved at last.
BROTHER.
Not man alone; the woods and fields
Show happy striving.
CHORUS.
The willow in his green, the peony
In crimson dressed.
(The BROTHER here begins his first dance; like that which follows, it is a “shimai” or dance without instrumental music.)
On mornings of green spring
When at the valley’s shining gate
First melt the hawthorn-warbler’s frozen tears,
Or when by singing foam
Of snow-fed waters echoes the discourse
Of neighbourly frogs;—then speaks
The voice of Buddha’s heart.
Autumn, by eyes unseen,
Is heard in the wind’s anger;
And the clash of river-reeds, the clamorous descent
Of wild-geese searching
The home-field’s face,
Clouds shaped like leaves of rice,—all these
To watchful eyes foretell the evening storm.
He who has seen upon a mountain-side
Stock-still beneath the moon
The young deer stand in longing for his mate,
That man may read the writing, and forget
The finger on the page.
BROTHER.
Even so the fisher’s boats that ride
The harbour of the creek,
CHORUS.
Bring back the fish, but leave the net behind.
These things you have heard and seen;
In the wind of the hill-top, in the valley’s song,
In the film of night, in the mist of morning
Is it proclaimed that Thought alone
Was, Is and Shall be.
BROTHER.
Conceive this truth and wake!
As a cloud that hides the moon, so Matter veils
CHORUS.
The face of Thought.
BROTHER (begins his second dance, while the CHORUS sings the ballad used by the “hoka” players).
Oh, a pleasant place is the City of Flowers;
CHORUS.
No pen could write its wonders.[167]
In the east, Gion and the Temple of Clear Waters
Where torrents tumble with a noise of many wings;
In the storm-wind flutter, flutter
The blossoms of the Earth-lord’s tree.[168]
In the west, the Temple of the Wheel of Law,
The Shrine of Saga (Turn, if thou wilt,
Wheel of the Water Mill!),
Where river-waves dance on the weir
And river-willows by the waves are chafed;
Oxen of the City by the wheels are chafed;
And the tea-mortar by the pestle is chafed.
Why, and I’d forgot! In the hoka’s hands
The kokiriko[169] is chafed.
Now long may our Lord rule
Age notched on age, like the notches
Of these gnarled sticks!
MAKINO and BROTHER.
Enough! Why longer hide our plot?
(They draw their swords and rush upon NOBUTOSHI, who places his hat upon the ground and slips out at the side-door. The hat henceforward symbolically represents NOBUTOSHI, an actual representation of slaughter being thus avoided.)
CHORUS.
Then the brothers drew their swords and rushed upon him,
The foe of their desire.
(MAKINO gets behind the hat, to signify that NOBUTOSHI is surrounded.)
They have scaled the summit of their hate,
The rancour of many months and years.
The way is open to the bourne of their intent.
(They strike.)
They have laid their enemy low.
So when the hour was come
Did these two brothers
By sudden resolution
Destroy their father’s foe.
For valour and piety are their names remembered
Even in this aftertime.
Note on Hagoromo.
The story of the mortal who stole an angel’s cloak and so prevented her return to heaven is very widely spread. It exists, with variations and complications, in India, China, Japan, the Liu Chiu Islands and Sweden. The story of Hasan in the Arabian Nights is an elaboration of the same theme.
The No play is said to have been written by Seami, but a version of it existed long before. The last half consists merely of chants sung to the dancing. Some of these (e.g. the words to the Suruga Dance) have no relevance to the play, which is chiefly a framework or excuse for the dances. It is thus a No of the primitive type, and perhaps belongs, at any rate in its conception, to an earlier period than such unified dramas as Atsumori or Kagekiyo. The words of the dances in Maiguruma are just as irrelevant to the play as those of the Suruga Dance in Hagoromo, but there the plot explains and even demands their intrusion.
The libretto of the second part lends itself very ill to translation, but I have thought it best to give the play in full.
HAGOROMO
By SEAMI
PERSONS
- HAKURYO (a Fisherman).
- ANGEL.
- ANOTHER FISHERMAN.
- CHORUS.
FISHERMAN.
Loud the rowers’ cry
Who through the storm-swept paths of Mio Bay
Ride to the rising sea.
HAKURYO.
I am Hakuryo, a fisherman whose home is by the pine-woods of Mio.
BOTH.
“On a thousand leagues of lovely hill clouds suddenly close;
But by one tower the bright moon shines in a clear sky.”[170]
A pleasant season, truly: on the pine-wood shore
The countenance of Spring;
Early mist close-clasped to the swell of the sea;
In the plains of the sky a dim, loitering moon.
Sweet sight, to gaze enticing
Eyes even of us earth-cumbered
Low souls, least for attaining
Of high beauty nurtured.
Oh unforgettable! By mountain paths
Down to the sea of Kiyomi I come
And on far woodlands look,
Pine-woods of Mio, thither
Come, thither guide we our course.
Fishers, why put you back your boats to shore,
No fishing done?
Thought you them rising waves, those billowy clouds
Wind-blown across sea?
Wait, for the time is Spring and in the trees
The early wind his everlasting song
Sings low; and in the bay
Silent in morning calm the little ships,
Ships of a thousand fishers, ride the sea.
(The second FISHERMAN retires to a position near the leader of the CHORUS, and takes no further part in the action.)
HAKURYO.
Now I have landed at the pine-wood of Mio and am viewing the beauty of the shore. Suddenly there is music in the sky, a rain of flowers, unearthly fragrance wafted on all sides. These are no common things; nor is this beautiful cloak that hangs upon the pine-tree. I come near to it. It is marvellous in form and fragrance. This surely is no common dress. I will take it back with me and show it to the people of my home. It shall be a treasure in my house.
(He walks four steps towards the Waki’s pillar carrying the feather robe.)
ANGEL (entering through the curtain at the end of the gallery).
Stop! That cloak is mine. Where are you going with it?
HAKURYO.
This is a cloak I found here. I am taking it home.
ANGEL.
It is an angel’s robe of feathers, a cloak no mortal man may wear. Put it back where you found it.
HAKURYO.
How? Is the owner of this cloak an angel of the sky? Why, then, I will put it in safe keeping. It shall be a treasure in the land, a marvel to men unborn.[171] I will not give back your cloak.
ANGEL.
Oh pitiful! How shall I cloakless tread
The wing-ways of the air, how climb
The sky, my home?
Oh, give it back, in charity give it back.
HAKURYO.
No charity is in me, and your moan
Makes my heart resolute.
Look, I take your robe, hide it, and will not give it back.
(Describing his own actions. Then he walks away.)
ANGEL.
Like a bird without wings,
I would rise, but robeless
HAKURYO.
To the low earth you sink, an angel dwelling
In the dingy world.
ANGEL.
HAKURYO.
But when she saw he was resolved to keep it ...
ANGEL.
Strength failing.
HAKURYO.
Help none ...
CHORUS.
Then on her coronet,
Jewelled as with the dew of tears,
The bright flowers drooped and faded.[172]
O piteous to see before the eyes,
Fivefold the signs of sickness
Corrupt an angel’s form.
ANGEL.
I look into the plains of heaven,
The cloud-ways are hid in mist,
The path is lost.
CHORUS.
Oh, enviable clouds,
At your will wandering
For ever idle in the empty sky
That was my home!
Now fades and fades upon my ear
The voice of Kalavink,[173]
Daily accustomed song.
And you, oh you I envy,
Wild-geese clamorous
Down the sky-paths returning;
And you, O seaward circling, shoreward sweeping
Swift seagulls of the bay:
Even the wind, because in heaven it blows,
The wind of Spring I envy.
HAKURYO.
Listen. Now that I have seen you in your sorrow, I yield and would give you back your mantle.
ANGEL.
Oh, I am happy! Give it me then!
HAKURYO.
Wait. I have heard tell of the dances that are danced in heaven. Dance for me now, and I will give back your robe.
ANGEL.
I am happy, happy. Now I shall have wings and mount the sky again.
And for thanksgiving I bequeath
A dance of remembrance to the world,
Fit for the princes of men:
The dance-tune that makes to turn
The towers of the moon,
I will dance it here and as an heirloom leave it
To the sorrowful men of the world.
Give back my mantle, I cannot dance without it.
Say what you will, I must first have back the robe.
HAKURYO.
Not yet, for if I give back your robe, not a step would you dance, but fly with it straight to the sky.
ANGEL.
No, no. Doubt is for mortals;
In heaven is no deceit.
HAKURYO.
I am ashamed. Look, I give back the robe.
(He gives it to her and she takes it in both hands.)
ANGEL.
The heavenly lady puts on her garment,
She dances the dance of the Rainbow Skirt, of the Robe of Feathers.
HAKURYO.
The sky-robe flutters; it yields to the wind.
ANGEL.
Sleeve like a flower wet with rain ...
HAKURYO.
The first dance is over.
ANGEL.
Shall I dance?
CHORUS.
The dance of Suruga, with music of the East?
Thus was it first danced.
(The ANGEL dances, while the CHORUS sings the words of the dance, an ancient Shinto chant.)
“Why name we
Wide-stretched and everlasting.
The sky of heaven?
Two gods[174] there came of old
And built, upon ten sides shut in,
A measured world for men;
But without limit arched they
The sky above, and named it
Wide-stretched and everlasting.”
ANGEL.
Thus is the Moon-God’s palace:
Its walls are fashioned
With an axe of jade.
CHORUS.
In white dress, black dress,
Thrice ten angels
In two ranks divided,
Thrice five for the waning,
Thrice five for nights of the waxing moon,
One heavenly lady on each night of the moon
Does service and fulfils
Her ritual task assigned.
ANGEL.
I too am of their number,
A moon-lady of heaven.
CHORUS.
“Mine is the fruit of the moon-tree,[175] yet came I to the East incarnate,[176]
Dwelt with the people of Earth, and gave them
A gift of music, song-dance of Suruga.
Now upon earth trail the long mists of Spring;
Who knows but in the valleys of the moon
The heavenly moon-tree puts her blossom on?
The blossoms of her crown win back their glory:
It is the sign of Spring.
Not heaven is here, but beauty of the wind and sky.
Blow, blow, you wind, and build
Cloud-walls across the sky, lest the vision leave us
Of a maid divine!
This tint of springtime in the woods,
This colour on the headland,
Snow on the mountain,[177]
Moonlight on the clear shore,—
Which fairest? Nay, each peerless
At the dawn of a Spring day.
Waves lapping, wind in the pine-trees whispering
Along the quiet shore. Say you, what cause
Has Heaven to be estranged
From us Earth-men; are we not children of the Gods,
Within, without the jewelled temple wall,[178]
Born where no cloud dares dim the waiting moon,
Land of Sunrise?”
ANGEL.
May our Lord’s life,
Last long as a great rock rubbed
Only by the rare trailing
Of an angel’s feather-skirt.[179]
Oh, marvellous music!
The Eastern song joined
To many instruments;
Harp, zither, pan-pipes, flute,
Belly their notes beyond the lonely clouds.
The sunset stained with crimson light
From Mount Sumeru’s side;[180]
For green, the islands floating on the sea;
For whiteness whirled
A snow of blossom blasted
By the wild winds, a white cloud
Of sleeves waving.
(Concluding the dance, she folds her hands and prays.)
NAMU KIMYO GWATTEN-SHI.
To thee, Monarch of the Moon,
Be glory and praise,
Thou son of Seishi Omnipotent![181]
CHORUS.
This is a dance of the East.
(She dances three of the five parts of the dance called “Yo no Mai,” the Prelude Dance.)
ANGEL.
I am robed in sky, in the empty blue of heaven.
CHORUS.
Now she is robed in a garment of mist, of Spring mist.
ANGEL.
Wonderful in perfume and colour, an angel’s skirt,—left, right, left, left, right.
(Springing from side to side.)
The skirt swishes, the flowers nod, the feathery sleeves trail out and return, the dancing-sleeves.
(She dances “Ha no Mai” the Broken Dance.)
CHORUS.
She has danced many dances,
But not yet are they numbered,
The dances of the East.
And now she, whose beauty is as the young moon,
Shines on us in the sky of midnight,
The fifteenth night,
With the beam of perfect fulfilment,
The splendor of Truth.
The vows[182] are fulfilled, and the land we live in
Rich with the Seven Treasures
By this dance rained down on us,
The gift of Heaven.
But, as the hours pass by,
Sky-cloak of feathers fluttering, fluttering,
Over the pine-woods of Mio,
Past the Floating Islands, through the feet of the clouds she flies
Over the mountain of Ashitaka, the high peak of Fuji,
Very faint her form,
Mingled with the mists of heaven;
Now lost to sight.
