Ezra Pound and the Japanese Noh Play: East Meets West

Introduction: Pound and the Western Discovery of Noh

In the West, the Japanese Noh play is most often studied by students of drama, poetry, and literature to understand its effects on poet W.B. Yeats (Teele 1957, p. 346). Early in the process, students undoubtedly become aware that Yeats was first exposed to the Noh play through his colleague, friend, and sometimes nemesis, Ezra Pound. Pound is credited with being the first Western poet to embrace the Noh play through his translations — undertaken with Ernest Fenollosa — of several manuscripts in 1913 (Ibid).

As a result of his tremendous enthusiasm, Pound succeeded in creating broader interest in the genre among his peers in Europe and America, even though his translations were usually harshly criticized in Japan (Ibid). However, he appears to have abruptly abandoned his passionate foray into the Noh shortly afterwards. It was not until the mid-1930s and beyond that Pound rediscovered and truly championed the Noh as an artistic drama production worthy of worldwide acclaim.

Basic Elements of the Noh Play

The Japanese Noh play is a form of classical Japanese musical theater with a history over six centuries old. Noh plays typically fall into one of two categories: the Gendai Noh, known as the realistic Noh, or Mugen Noh. Mugen Noh plays generally consist of two acts. In the first act, called the shite, the main character is disguised as another character, called the waki. In the latter act, the shite emerges in his or her true form (Nagahata, p. 116).

While both female and male roles are depicted, historically, males have played all the roles, often wearing masks — the hallmark of Noh costume (Fenollosa and Pound, p. 6). A traditional Noh performance lasts all day and is usually comprised of five consecutive Noh plays interspersed with shorter, comical kyogen pieces. This has changed somewhat recently, however, as contemporary Noh performances now more typically consist of two Noh plays bookending one kyogen play (Brandon, n.p.). Stages and sets are dramatically limited — if not eliminated altogether — and the predominant color is grey (Nagahata, p. 115).

Popular Noh Plays

"Kayoi Komachi" is an example of a popular Noh play in which the ghosts of Ono no Komachi — a woman who lived in the eighth century and was known for her legendary beauty, courted for ninety-nine consecutive nights — and Shii no Shosho, the man courting her, appear, speak, and dance in the real world (Ibid). Many Noh plays feature ghosts venturing into the present of the real world (Ibid). According to Pound's translation, because Shosho would not accept Buddhism, his spirit and Ono's will be kept apart (Fenollosa and Pound, p. 27).

In "Suma Genji," the main character Genji runs afoul of Buddhist morals when he develops an oedipal-type complex, yearning for a romantic relationship with any female who reminds him of his mother (Van Dyne, p. 3). In this play, Pound identifies another common Noh feature — unity of image — which in the case of "Suma Genji" is embodied in the blue-grey waves and wave pattern (Nicholls, p. 4).

A third Noh play, "Kumosaka," heroically portrays a pilgrim priest who prays for the soul of an unknown dead man in the face of adversity. The priest's spirit is rewarded for his righteous perseverance (Fenollosa and Pound, p. 63). The Noh plays frequently portray spirits dressed as simple and destitute characters who face a moment of crisis. If the character navigates the crisis properly, the character's spirit is rewarded; if not, the spirit is punished. Whether or not the character acts properly is determined by the morality and ethics set forth in Buddhism and its Eightfold Path (Van Dyne, n.p.).

Conclusion

Pound, Yeats, and Shaw succeeded in spreading the genre of Noh to the West, as it became more a part of popular culture in the twentieth century. Noh has had an impact on composers, playwrights, and poets throughout the world. This worldwide interest has also helped to maintain its popularity in Japan. The practice of Noh thrives in Japan today. There are some notable changes to modern Noh theatre, chiefly the addition of women to the ranks of performers. Additionally, a few new Noh plays have been written and some retired ones have been reactivated. Noh has also blended with other forms of entertainment and theatrical genres.

That is largely the extent of the change, however, as there is a very sincere and earnest call for tradition and custom throughout the Noh community. The field remains highly codified, and the emphasis from within the field is far more on tradition than on innovation. The society of Noh preserves and espouses its traditions, one of which is the regimented progression of characters that an actor or actress may portray over the course of their career.

The Noh remains an integral part of Japanese culture. Ezra Pound maintained a pursuit of sharing the Noh with the West for most of his adult life. His endeavor was a success: the Noh has indeed been shared all over the world while remaining particularly sacred in its native Japan.