Plays

Takasago

Introduction

The scene of the Prologue is the shore near Aso; of the first Act the scene is the strand of Takasago, of the second Act the scene is the strand of Sumiyoshi. (On the stage there is no differentiation of scene.)

The chorus would, originally at least, consist of the actors. At a later period more or fewer of the musicians and songmen (utahigata) took choral parts. It does not seem that there was any special chorus. It has, however, been supposed that the waki was accompanied by two hafuri (shrine-servants), who acted as chorus.

The performance began with the entry, from behind, of the shite and his tsure and the waki, who—in later times perhaps some of the musicians—would chant the opening quatrain. Upon the stage a Pine-tree was originally placed, afterwards represented by a picture on a curtain of the Tree under which the Spirits of the Trees of Takasago and Sumiyoshi were depicted, holding rakes in their hands and sweeping up the fallen needles.

The dancing or posturing would be part of the duty of the actors, not of the chorus, the functions of which only distantly resemble those of the chorus in the Greek Drama.

Characters

Prologue

Scene. The Seashore Near Aso in Higo.

Chorus. Tomonari.

In traveller’s trim
now first he fareth forth,
and far the way is,
and many the days before him.

Describing the journey.

In trim of traveller
this day to start he mindeth
for City-Royal,
for distant City-Royal—
across the surf he
upon the shipway oareth,
gentle the skies are,
the spring-winds softly blowing—
what tale of days shall
his bark in the cloudy distance
sail o’er the sea-plain
till Harima he reacheth,
and Takasago
at last his keel receiveth,
his keel receiveth!

Act I

Scene. The Strand of Takasago2 overshadowed by an ancient gnarled and wide-branched Pine-tree.

Tomonari. The Ancient of Suminoye. The Dame of Takasago.

In the Pine-tree
of Takasago murmureth
the gentle spring-wind,
across the darkening air
the deep tones wafting
of the bell of old Onöe—3

Mid the rocks mist-hidden
the roar of the surf resoundeth;

or ebb or flood be
the cadenced music telleth.

Whom may I friend hail
if mine own ancient comrade
I may not call thee,
O Tree of Takasago!
with whom sweet converse
to hold of long past years
beneath the snows
of many a winter white hid—
for wont I have been
or night or morn, or sleeping
on my rude pallet,4
like hoary crane’s nest whiten’d
with morning moonshine,
or springtime’s rimy sparkle
like moonshine gleaming,
or waking with the daybreak,
in the murmurous music
the winds make in thy leafery
to find new gladness—
so communing with my own heart
my night thoughts give me,
in utterance give me solace.

What ask the winds
what ask they of the Pine-tree?
the falling leaves
blown by the shore winds down
upon our garments5
they give the answer, give they,6
the leaves low-fallen
we sweep and heap
beneath the Pine-tree’s shadow;
’tis Takasago
’tis the Tree of yore Onöe’s7
doth bide forever
the waves of Time affronting—
so gather we
the leaves low fallen gather,
while ever the Pine-tree
shall ever live its life days,
and Takasago
its fame preserve forever,
its fame forever!

In waveless peace
the four seas lap our shores,
the gentle tide winds
no murmur mid the woods wake,
Oh, fair the age is!
fair yonder Pine-trees’ spousal,
äiöino
äiöinomatsu,
whose happy augury
men note with awe and wonder,
while vainly seek they
meet words their thanks to utter,
in such an age
that they do live rejoicing
in their Lord’s abundant bounty.

Under the protecting shadow of our wide-isled14 land do they not flourish?

A member of the chorus here recites the kuse15 or precept of the piece. Aye! and as Chônô16 hath it, all things, or quick or unquick, are revealed in song; herbs and trees and soil and sand, the whispers of the wind, the babble of the brooks—all contain the soul of poetry. The sway of the woods in Spring under the eastern breezes, the chirrup of the cicada among the dews that moisten the unsunn’d foliages in Autumn, are they not forms or models of our native verse? In the universe of things that grow, doth not the Pine-tree surpass all the world of trees; bright as a full bevy of court nobles,17 the green leafery defieth a thousand autumns unshowing any change of hue—well worthy, belike, the Pine-tree is of the badge of rank bestowed upon it by China’s Sovran Shikwo!18 In barbarian lands, within our own borders, by all the peoples of earth, is not the Pine-tree held blessed?

Hark! I hear
the solemn tone of Onöe’s bell
by Takasago.

Though with the daydawn
the hoarfrost shineth chilly
the Pine-tree ever
unchang’d its leafery showeth,
in the deep green shadow
or morn or evening
the fallen leaves we sweep,
yet ever fall they,
for true it is that never
yon leafery perisheth,
and ages long endureth
the Pine-tree’s greenery
as wild moor-creeper endless,
among the trees
that keep their freshness ever
deathless the fame is
of the Pine of Takasago
for ay a symbol,
äiöinomatsu,
and sign of wedded joyance.

In this our land
our mighty Sovran ruleth
beneath his sway
’tis good to live21 forever,
and Sumiyoshi
where fair it is to dwell
our wanderer fain
would seek, and humbly there
the god await—
wherefore ’tis now he climbeth
on fisher’s bark
anigh the sea-marge floateth,
and forth he fareth
by favouring breezes wafted,
across the waters
the evening waters fareth.

From Takasago
on fisher’s bark I climb
and sail away
far o’er the waves of ocean
as the pale moon riseth,
under Awaji’s shadow
I cleave the waters
’yond roaring Naruwo faring,
till Sumiyoshi
I reach, fair Sumiyoshi!

Act II

Scene. The Strand of Sumiyoshi in Settsu.

Chorus. The God of Sumiyoshi.

Entering.22

Long ’tis since saw I
the Princess Pine that groweth
by Sumiyoshi
nor knoweth, belike, the Sovran
how many an age through
my grace on him hath rested;
and now for generations
as palace-fence enduring,
to cheer my heart
be the sacred mime enacted,
wherefore the night drums
bring, and beat out their music,
ye servants of the shrine.

From the western sea
from where the waves are breaking
upon Aoki—23

cometh the holy Presence,
in this fair spring-tide
when the Tree Divine full flourisheth,
and still the snows lie
lightly on As’kagata—24

where men do gather
on the strand rich seaweed harvest—

at foot of the ancient Pine-tree
I will recline me—

with a thousand years’ green leafery
his25 hands full filled be—

and spray of plum-tree gathered
my head adorning—

like latest snows of winter
the blossoms deck him.

The virgin voices,
how clear is their music
beneath the Pine-tree
of bright-shored Suminoye,
as featly dance they
to the air of the “Blue Sea Wave”
by the blue sea where
the shadow is reflected
of the Princess Pine-tree.

The way of god and Sovran
towards City-Royal
will now be straightway wended26
this fair spring season—

’Tis the Dance of “Joyeuse Rentrée”

for years ten thousand

in ritual vestments

let arms extended
all ill fend from the land,
and arms fair-folded
embrace all happiness,
and make the folk glad
with the “Joy of a Thousand Autumns,”
long life give all men
with the “Joy of a Myriad Years”—
äiöinomatsu
among the Wedded Pine-trees
growing old together
may gentle winds forever
wake music ever haunting
and ever the world enchanting!27