DOI issue:
No. 81 (December, 1899)
DOI article:Edwards, Osman: Religious plays in Japan
DOI Page / Citation link:https://doi.org/10.11588/diglit.19783#0180
Japanese Religious Plays
"the pretended jizo" from a colour print by kogyo
cately blent hues are as superior to the flamboyant, text, the musicians emitted a series of staccato cries
aniline horror, by which the Nihon-bashi print- or wailing notes, which seemed to punctuate the
seller advertises the newest blood-and-thunder passion of the player, and insensibly tightened the
melodrama, as that itself is inferior to the aristo- tension of the auditors' nerves. In two rows of
cratically - nurtured No. Reproduced in black- three, on the right of the stage, sat the Chorus, six
and-white, the pictures of Mr. Kogyo cannot but most " reverend Signiors," in the stiff costume of
suffer a transformation, yet they will serve to im- Samurai, who intervened now and again with voice
press the reader with the archaic simplicity and and fan, the manipulation of the latter varying with
beauty of the original design, provided that he the quality of the strains assigned to the singers,
have the gift of sympathetic intuition, so as to In placid moments the fan would sway gently to
divine what tale of terror, what burden of grief, and fro, rocked on the waves of quasi-Gregorian
obscure to him, is yet manifest enough behind chanting; but, when blows fell or apparitions rose,
quaint mask and rigid gesture to the heirs of a it was planted, menacing and erect, like a danger-
national hagiology. The writer was particularly for- signal, before the choralist's cushion. The musi-
tunate in gaining admission to a series of No pro- cians were seated on low stools at the back of the
duced by the Umawaka Company or Society, which stage before a long screen of conventional design,
has this advantage over the other five organisations, in which green pines trailed across a gold ground,
diverging on points of textual accuracy and stage, harmonising admirably with the sober blues and
ritual, that it forms a romantic link with the feudal browns of their kimono.
sway of Shogun and Daimio. A glance at the programme gave assurance of pro-
Most mystical among many mysteries is the longed and varied entertainment, since no less than
music, which Professor Basil Hall Chamberlain five religious plays and three Kidgen (lit., mad
bluntly calls " strumming and squealing." The words), farcical interludes, were announced in the
orchestra consisted, on this occasion, of a flute and following order : i. Shunkwan : the High-priest in
two taiko, drums shaped like a double egg-cup, and Exile. 2. Koi no Omone: the Burden of Love,
rapped smartly with the open palm. At irregular 3. Aoi no Uye: the Sick Wife. 4. Funa Benkei:
intervals, timed, no doubt, by the exigencies of the Benkei at Sea. 5. Tsuchigumo : the Earth-Spider.
i57
"the pretended jizo" from a colour print by kogyo
cately blent hues are as superior to the flamboyant, text, the musicians emitted a series of staccato cries
aniline horror, by which the Nihon-bashi print- or wailing notes, which seemed to punctuate the
seller advertises the newest blood-and-thunder passion of the player, and insensibly tightened the
melodrama, as that itself is inferior to the aristo- tension of the auditors' nerves. In two rows of
cratically - nurtured No. Reproduced in black- three, on the right of the stage, sat the Chorus, six
and-white, the pictures of Mr. Kogyo cannot but most " reverend Signiors," in the stiff costume of
suffer a transformation, yet they will serve to im- Samurai, who intervened now and again with voice
press the reader with the archaic simplicity and and fan, the manipulation of the latter varying with
beauty of the original design, provided that he the quality of the strains assigned to the singers,
have the gift of sympathetic intuition, so as to In placid moments the fan would sway gently to
divine what tale of terror, what burden of grief, and fro, rocked on the waves of quasi-Gregorian
obscure to him, is yet manifest enough behind chanting; but, when blows fell or apparitions rose,
quaint mask and rigid gesture to the heirs of a it was planted, menacing and erect, like a danger-
national hagiology. The writer was particularly for- signal, before the choralist's cushion. The musi-
tunate in gaining admission to a series of No pro- cians were seated on low stools at the back of the
duced by the Umawaka Company or Society, which stage before a long screen of conventional design,
has this advantage over the other five organisations, in which green pines trailed across a gold ground,
diverging on points of textual accuracy and stage, harmonising admirably with the sober blues and
ritual, that it forms a romantic link with the feudal browns of their kimono.
sway of Shogun and Daimio. A glance at the programme gave assurance of pro-
Most mystical among many mysteries is the longed and varied entertainment, since no less than
music, which Professor Basil Hall Chamberlain five religious plays and three Kidgen (lit., mad
bluntly calls " strumming and squealing." The words), farcical interludes, were announced in the
orchestra consisted, on this occasion, of a flute and following order : i. Shunkwan : the High-priest in
two taiko, drums shaped like a double egg-cup, and Exile. 2. Koi no Omone: the Burden of Love,
rapped smartly with the open palm. At irregular 3. Aoi no Uye: the Sick Wife. 4. Funa Benkei:
intervals, timed, no doubt, by the exigencies of the Benkei at Sea. 5. Tsuchigumo : the Earth-Spider.
i57