Japanese No Dramas (Penguin Classics) [Paperback]

Various (Author), Royall Tyler (Translator)

Book Description

Series: Penguin Classics | Publication Date: June 1, 1993

Japanese no theatre or the drama of perfected art' flourished in the fourteenth and fifteenth centuries largely through the genius of the dramatist Zeami. An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of form' is more central than meaning' and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.

Product Details

• Paperback: 384 pages
• Publisher: Penguin Classics (June 1, 1993)
• Language: English
• ISBN-10: 0140445390
• ISBN-13: 978-0140445398
• Product Dimensions: 7.8 x 5.1 x 0.9 inches
• Shipping Weight: 10.4 ounces (View shipping rates and policies)
• Average Customer Review: 4.8 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #102,804 in Books (See Top 100 in Books)
  • #25 in Books > Literature & Fiction > World Literature > Japanese
  • #44 in Books > Literature & Fiction > Drama > Anthologies

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Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

5.0 out of 5 stars Profound yet accessible, January 2, 2006

By 

S. Wenz (Ohio, USA) - See all my reviews
(REAL NAME)   

This review is from: Japanese No Dramas (Penguin Classics) (Paperback)

As previous reviewers have observed, Royall Tyler's scholarship is always top-notch, and his efforts in "Japanese No Dramas" are no exception. Yet equally impressive in this volume is the translator's ability to so richly present the depth of the No theater in clear, concise introductory essays that preface each play while locating them within a broader historical and literary context. This feature makes the text perfect for casual readers and devoted students alike. Tyler's general introduction to the No provides a solid theoretical background for complete beginners, explaining the foundations of the art, its prevalent symbolism and themes, and text- and performance-related terminology, while the aforementioned play-specific introductions offer perceptive critical analyses that follow and expand upon current Japanese No scholarship. Also worth mentioning in this respect are the footnotes. As readers of Tyler's "The Tale of Genji" translation will recall, the author supplies a great deal of explanatory notes to the text, both clarifying less-than-obvious intended meanings and pointing out references to other works. Since intertextuality forms such a vital aspect of classical Japanese literature, Tyler's decision to document each allusion proves invaluable for readers who are familiar with Japanese canonical texts or who seek to better appreciate the literary resonance of certain recurrent images and phrases. Furthermore, considering that a few of the No plays featured in this collection are nearly impossible to understand without basic knowledge of their social, religious, or historical background, readers will find themselves most grateful for Tyler's eminently helpful (yet never intrusive) explanations.

Of course, as impressive as the scholarship is here, it would mean little if the translations of the selected plays were substandard. Thankfully this is by no means the case. Tyler's renderings of each work compare favorably with the various other translations I've stumbled across, and the language he has chosen is simple yet elegant--doubtless an apt reflection of the No theater itself. As Tyler explains, although No is essentially a performance art and as such must be experienced live to be fully grasped, this certainly does not deprive the texts of their literary value. The poetry of "Matsukaze" alone is enough to convince one of this fact, and several other plays are equally lyrical and profound in their expression.

On a personal note, I have never been fortunate enough to attend an actual performance (which are rather difficult to find outside Japan), and my interest in the No is a product of reading volumes such as this; and yet, in spite of such apparent limitations, I can claim that multiple No plays rank among the greatest literature I have ever studied. Surely Royall Tyler's fine translations and careful attention to detail are in large part responsible for this occurrence. Five stars without hesitation.

13 of 14 people found the following review helpful:

5.0 out of 5 stars Noh Comparison, May 21, 2000

By 

richard b. finnegan - See all my reviews

This review is from: Japanese No Dramas (Penguin Classics) (Paperback)

The significance and effect of Noh drama is roughly equivalent to that of the plays of the great tragedians of ancient Greece. Noh combines the spiritual influences of the Buddhist and Shinto religions and the Japanese flair for densely woven, yet elegantly simple, verse in haunting allegories of enlightenment. Every detail, from set construction to the ritual motions of the actors on stage, heightens the poignancy of the plots. While the text of many of the plays are only a few pages long; a performance of a Noh play can last several hours. These plays are not only touching and intensely spiritual, but also provide a valuable resource for westerners who want to understand the roots of Japanese culture.

13 of 15 people found the following review helpful:

5.0 out of 5 stars Good research material, April 13, 2002

By 

Takao Ishigaki (Toronto, Ontario Canada) - See all my reviews

This review is from: Japanese No Dramas (Penguin Classics) (Paperback)

Tyler is known as an authority on Japanese Literature and this volume serves an excellent introduction to No drama which is quite philosophical and religious in background. Tyler includes several plays which are interesting from both an academic and asthetic viewpoint. I would like to make the suggestion to readers to look up some of Tyler's academic papers in titles such as "The Noh play Matsukaze as a transformation of Genji Monogatari" in Monumenta Nipponica. You can search in Jstor.com at your university library for his articles by author. His work in academic journals is top-notch.