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  • 47 - Kanshibun in the late Edo period

  • from Part IV - The Edo period (1600–1867)
  • Edited by Haruo Shirane, Columbia University, New York, Tomi Suzuki, Columbia University, New York, David Lurie, Columbia University, New York
  • Book:
    The Cambridge History of Japanese Literature
    Published online:
    05 January 2016
    Print publication:
    17 December 2015, pp 465-470

  • Summary

    This chapter focuses on the scripted elements of the noh plays. The plays of the time of the noted playwright Zeami and his pupils were more constrained in structure. The Okina sarugaku performance tradition shares some elements with that of noh plays, but there are fundamental differences between the two, for example in the structure of their masks and conventions of costume and dance. Sotoba Komachi and Jinen Koji by Kanami and Ukai by Saemon Goro of the Enami troupe may be taken as representative of the Heian period. Zeami's importance in the tradition of noh plays derives not so much from his fame as an actor in his lifetime, but rather from the fact that his style of play came to dominate the later repertoire. The content of his plays reflected the passion of Kyoto high society for the classical literature of the Heian court and the Heike monogatari.