B. H. Chamberlain: The Classical Poetry of the Japanese, 1880 (Rhymed paraphrases of Sesshoseki, Kantan, Nakamitsu and part of Hagoromo; translations of the farces Honekawa and Zazen).

The Chrysanthemum, 1882, Translation of Hachi no Ki.

F. W. K. MÜller in Festschrift f. Adolf Bastian, pp. 513-537, Ikkaku Sennin, eine mittelalterliche—Oper, 1896.

Aston, History of Japanese Literature, 1899. Osman Edwards: Japanese Plays and Playfellows, 1901. (Refers to performances of Shunkwan, Koi no Omoni, Aoi no Uye, Benkei in the Boat and Tsuchigumo.)

F. Brinkley, Japan, III. 21-60, 1901-2. (Translates Ataka and the farce Sannin Katawa.)

F. Victor Dickins, Japanese Texts, 1906. (Text and Translation of Takasago).

K. Florenz, Geschichte d. Japanischen Literatur, 1906. (Translations of Takasago and Benkei in the Boat; summaries of Ataka, Mochizuki and Hanjo. Translation of the farce Hagi-Daimyo.)

N. PÉri: Etudes sur le drame lyrique japonais, in Bulletin de l’Ecole d’ExtrÊme-Orient, 1909-1913. (Includes translations of Oimatsu, Atsumori, Ohara Goko, Sotoba Komachi and The Damask Drum.)

G. B. Sansom: Translations of Ataka, Benkei in the Boat and Sakuragawa.

H. L. Joly: Notes on masks, dances, etc., in Transactions of Japan Society, 1912.

M. Stopes: Plays of Old Japan, 1913. (Translations of Motomezuka, Kagekiyo and Sumidagawa; summary of Tamura.)

E. Fenollosa and Ezra Pound: Noh or Accomplishment, 1916. (Translations by E. F., adapted by E. P. Gives some account of about twenty plays. The versions of E. F. seem to have been fragmentary and inaccurate; but wherever Mr. Pound had adequate material to work upon he has used it admirably.)

See also general articles on the Japanese drama, such as A. Lloyd’s in Trans. of Asiatic Society of Japan, 1908.

Yone Noguchi: Twelve Kyogen (text and translation), 1911.

M. A. Hincks: The Japanese Dance, 32 pp., 1910.

JAPANESE

(Only a few important works are selected)

Kwadensho: the Later Kwadensho in 8 vols., first published c. 1600. (The British Museum possesses what is apparently an early eighteenth century reprint.)

No no Shiori: by Owada Tateki, 6 vols. (Description of the modus operandi of 91 plays), 1903.

Yokyoku Hyoshaku: edited by Owada Tateki, 9 vols., 1907-8. Texts of about 270 plays, with commentary. Referred to by me as “Owada.”

Nogaku Daijiten: by Masada and Amaya, 2 vols. (Dictionary of No.)

Seami Juroku-bu Shu: Works of Seami, 1909.

Yokyoku Sosho: edited by Y. Haga and N. Sasaki, 3 vols. (Texts of about 500 plays with short notes. Referred to by me as “Haga.”)

Zenchiku Shu: Works of Seami’s son-in-law, 1917.

Kyogen Zenshu: Complete Collection of Farces, 1910.

Jibyoshi Seigi: Yamazaki Gakudo, 1915. (A study of No-rhythm.)

Yokyoku Kaisetsu: No-plays explained in colloquial, by K. Kawashima, 1913.

Magazines such as Nogaku Gwaho, Yokyokukai, etc.; picture postcards and albums of photographs such as Nogaku Mandai Kagami, 1916.

Ryojin Hissho: Folk-songs collected in 12th century and rediscovered in 1911.