Torioi(bune)
or is a Noh play of the fourth category, probably from the 16th century, and possibly by Kongō Yagorō. Theme An absentee husband and father sets in motion a chain of events whereby the steward left in charge of the family estate gradually exerts power over the mother and her son, Hanawaka. Eventually the pair are forced into the demeaning activity of bird-scaring from a boat among the ricefields. See also *Take no yuki is a Noh play by Seami. Theme A man separates from his first wife and his daughter, but keeps his son with his second wife, who is urged by him to look after both the boy and the bamboo grove while he is on pilgrimage. Suspecting the son has c ... References {{Reflist, 2 External links Tori-oi-bune: Picture Noh Noh plays ...
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Take No Yuki
is a Noh play by Seami. Theme A man separates from his first wife and his daughter, but keeps his son with his second wife, who is urged by him to look after both the boy and the bamboo grove while he is on pilgrimage. Suspecting the son has complained of her to his actual parents, the stepmother sends him out, coatless, to brush the winter snow off the bamboos. After the boy dies of exposure in the bamboo grove, his sister and mother sing a song of despair, before the pious reconciliation of father and mother brings the dead boy back to life at the close. Later allusions *In a haiku offered to a family who had lost their own child, Bashō alludes to the Noh play: “Withered and bending / Dejected world upside-down / Bamboo of the snow” *Prints based on the play’s story were not uncommon. See also * Torioi(bune) *Wicked stepmother *Yuki-onna is a spirit or yōkai in Japanese folklore that is often depicted in Japanese literature, films, or animation. She may also ...
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Noh Play
is a major form of classical Japanese dance-drama that has been performed since the 14th century. It is Japan's oldest major theater art that is still regularly performed today. Noh is often based on tales from traditional literature featuring a supernatural being transformed into a human hero who narrates the story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent specific roles such as ghosts, women, deities, and demons. Having a strong emphasis on tradition rather than innovation, Noh is highly codified and regulated by the ''iemoto'' system. Although the terms Noh and ''nōgaku'' are sometimes used interchangeably, ''nōgaku'' encompasses both Noh and ''kyōgen''. Traditionally, a full ''nōgaku'' program included several Noh plays with comedic ''kyōgen'' plays in between; an abbreviated program of ...
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Kongō Yagorō
Kongō () is the Japanese word for ''vajra''. It may refer to: * Mount Kongō, a mountain in Osaka Prefecture, Japan **Kongō Range * Mount Kongō (Sado), a mountain in Niigata Prefecture, Japan * , the name of several Japanese ships * Kongō (Noh school), a school of Noh acting * Kongō Masahiro (1948–2014), a Japanese sumo wrestler * Kongō Station, a railway station in Ōsakasayama, Osaka Prefecture, Japan See also * Congo (other), including Kongo * King Kong (other), called 金剛 in Chinese * 金剛山 (other) 金剛山 may refer to: * Mount Kongō, a mountain in Osaka Prefecture, Japan * Mount Kongō (Higashihiroshima), a mountain in Higashihiroshima, Japan * Mount Kongō (Kitakyushu), a mountain in Yahatanishi-ku, Kitakyūshū, Japan * Mount Kongō (S ...

Arthur Waley
Arthur David Waley (born Arthur David Schloss, 19 August 188927 June 1966) was an English orientalist and sinologist who achieved both popular and scholarly acclaim for his translations of Chinese and Japanese poetry. Among his honours were appointment as Commander of the Order of the British Empire in 1952, receiving the Queen's Gold Medal for Poetry in 1953, and being invested as a Member of the Order of the Companions of Honour in 1956. Although highly learned, Waley avoided academic posts and most often wrote for a general audience. He chose not to be a specialist but to translate a wide and personal range of classical literature. Starting in the 1910s and continuing steadily almost until his death in 1966, these translations started with poetry, such as ''A Hundred and Seventy Chinese Poems'' (1918) and ''Japanese Poetry: The Uta'' (1919), then an equally wide range of novels, such as ''The Tale of Genji'' (1925–26), an 11th-century Japanese work, and ''Monkey'', fr ...
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