Literature in No Drama Essays -- Literary Analysis

By nature, Japanese No drama draw much of their inspiration and play from the classics. Many are based on episodes from the most popular classics, wish Atsumori, based on the Tale of Heike, or Matsukaze, which was actu onlyy based on a collage of earlier work. Even within these episodes do we aline references to yet much classic plant of literature, from the oldest collections of poetry to adopted spectral texts. That isnt to say that No is without its own strokes of creativitythe entire performance is a unique adaptation, and the playwrights had to be both highly educated in the classics, yet geniuses at the creative aspect of weaving song/poetry, dance, pietism and literature together into a heart-wrenching spectacle.It might be easier to behold the similarities surrounded by no plays than the differences. The basic p nap changes little there is a traveller or monk who encounters a lively ghost or ghosts whose restless souls must be put to rest. The religious implic ations here are major, and let a central theme of No. In both Atsumori and Matsukaze, the monk chants Namu Amida Bu, for the Pure Land sect of Buddhism, as well as recites verses from the white lotus Sutra. The commentary mentions that The monk invokes Amida for the spirits of the dead, although the dead are comforted more often with passes from the Lotus Sutra. (p.41) Atsumoris ghost, as character youth, and Rensho, a monk, both quote together If I at last become a Buddha/then all sentient beings who call my Name/in all the worlds, in the ten directions/will find welcome in Me, for I abandon none, which is from the sutra known as Kammuryojukyo. The chorus expands on this quote until the lay off of the scene, the song being the playwrights own creati... ... have a friend. (p.40) Matsukazes text refers to a great deal more onetime(a) poetry than Atsumori, perhaps simply because it is more relevant and appropriate in the context of the story Matsukaze is a love story, and th ere is a lot present in the classics about love. Another kokinshu poem found in Matsukaze From the pillow/from the foot fo the bed/love comes pursuing, (p.202) for example. The examples of the samples of poetry, and allusions to other works of literature, are so numerous and some so subtle that they are countless in No drama. No could not exist without the classics that it endlessly draws upon. This calls for a highly educated audience to enjoy the play in its entirety. However, for the medieval age, it was new and exciting to see these classics woven together in a stage performance, so gracefully and creatively by the playwrights of old.