[5] See note on Buddhism, p. [32].
[6] The piece to be used as an introduction. Modern performances are not confined to full Nō. Sometimes actors in plain dress recite without the aid of instrumental music, sitting in a row. Or one actor may recite the piece, with music (this is called Hayashi); or the piece may be mimed without music (this is called Shimai).
[7] An old shirōto, i. e. person not engaged in trade.
[8] This shows that, in Seami’s hands, the device of making an apparition the hero of the play was simply a dramatic convention.
[9] This, too, is the only aspect of them that I can here discuss; no other kind of criticism being possible without quotation of the actual words used by the poet.
[10] See further my Zen Buddhism & its relation to Art. Luzac, 1922.
[12] Like Yukihira; see p. [227].
[13] Atsumori must have done Kumagai some kindness in a former incarnation. This would account for Kumagai’s remorse.
[14] Buddha.