近代能楽用語索引Index of Nō-related Terms in Modern Texts

KomparouBénazet, Alexandre（1901）Le théâtre au Japon: ses rapports avec les cultes locaux, Leroux, Paris [FR]

• 85Trois autres familles ont attaché leur nom à l’histoire dramatique de ce temps: Emmani (ou Komparou), Toyama (ou Hо̄shо̄), et Sakado (ou Kongо̄).
• 85Suivant M. Tateki Owada, le premier représentant de la dynastie Komparou fut un certain Takeda Oujinobou, né dans le Yamato.
• 85La dynastie Kongо̄ est une branche de la sixième géneration des Komparou.
• 96Certaines familles ont fourni plusieurs générations succeseivcs de comédiens de kiyôghèn un peut citer les Ohkoura, les Chо̄myо̄, les Saghi, les ldzoumi, qui ne remontent cependant pas aussi haut dans l’histoire que les Kwanzé, les Komparou, les Hо̄shо̄ et les Kongо̄, dont les descendants jouent encore les nô.

KomparuMaybon, Albert（1925）Le théatre japonais, Henri Laurens, Paris [FR]

• 24Trois autres groupes ont pour nom Kongo, Kita et Komparu.

Lane Suzuki, Beatrice（1932）Nōgaku: Japanese Nō Plays, Murray, London [EN]

• 16In Nara at the Kasuga shrine four groups arose forming the present schools of Komparu, Kwanze, Hosho, and Kongo.
• 22Each school of Nо̄ (Kwanze, Kongo, Komparu, Hо̄shо̄, and Kita) has its own texts which contain some differences in reading.

Sadler, A.L. （1934）Japanese Plays Nō – Kyōgen – Kabuki, Angus & Robertson, Sydney [EN]

• x-xiThe performance of these dramas was entirely restricted to the Five Families of Komparu, Kwanzei, Hosho, Kongo and Kita, of which Komparu claims the greater antiquity.
• xiThese houses were originally engage in the production of the Sarugaku given at the two Great Shrines of Kasuga at Nara, and Hiyoshi on Mount Hiei near Kyoto, and the tradition in the house of Komparu is that they were descended from an official appointed by Prince Shotoku ( d. 621), to play the Dengaku which he wrote.

Nogami, Toyoichirō（1934）Japanese Noh Plays: How to See them, Board of Tourist Industry, Tokyo [EN]

• 11The Actors were Mr. Kintarо̄ Sakurama, a leading actor of the Komparu School, and Mr. Shin Hosho, my teacher of utai.

n.a.（1936）What is the Noh play? How to appreciate “Hagoromo”, Brazil Economic Mission, n.a. [EN]

• 9There are to-day six Noh schools Kanze, Hosho, Kongo, Komparu, Kita and Umewaka.

Kokusai Bunka Shinkōkai（1937）The Noh Drama, Kokusai Bunka Shinkōkai, Tokyo [EN]

• 8The Noh art is being perpetuated today,as it has been since feudal times, by five official “schools” known as Kanze, Hosho, Komparu, Kongo and Kita, and though they are all divided on some of the technical details, in their traditional reverence for Zen canons of taste they are united.

Fulchignoni, Enrico（1942）Sette Nō, Edizioni Teatro dell’Università di Roma, Roma [IT]

• 2All’inizio dell’epoca Muromaci (sec. XIV) si erano andate formando nelle provincie numérose compagnie di attori del ( No », fra cui primeggiano le compagnie Komparu e Kongo.

Kon-paruIkenouchi, Nobuyoshi（1925）Explanations of Nō plays: a vade mecum for spectators of Nō plays, Nōgakukai, Tokyo [EN]

• 7In No schools of Kon-paru, Kongo and Kita, the roles of Senzai are played by Kyogen who appear, with the mask box while in the schools of Kwanze and Hosho, the parts of Senzai, aro played by Shite-zure, in which case, there is a separate mask-box carrier.
• 22In playing Kotsuzumi, there were four schools of Ōkura, Kō, Kōsei and Kwanze, but Kwanze has now gone out of existence leaving the other three schools while the Ōtsuzumi playing had also various schools of Kon-paru, Itoku, Ishii, Ōkura, Takayasu and Kadono, but the latter two schools alone are extant.
• 22The drum playing has two schools of Kon-paru and Kwanze which are in fashion even at the present time.

KonparuIkenouchi, Nobuyoshi（1925）Explanations of Nō plays: a vade mecum for spectators of Nō plays, Nōgakukai, Tokyo [EN]

• 21There are 5 schools if shite actors as represented by names of Kwanze, Konparu, Hoshо̄, Kongо̄ and Kita.
• 22The oldest of the Noh schools is called Konparu out of which arose two schools of Kongo and Kita which are known under the general name of Shimogakari, while the school of Hosho was originated from the Kwanze school, both of which are included under the name of Kamigakari.
• 23The founder of the Konparu school was Hada-no-Kawakatsu who lived twelve hundred years ago and Kwan-ami, the founder of the Kwanze school lived six hundred years ago.
• 23Konparu Zenchiku being his son-in-law, Seami actually is connected with the genealogy of the Konparu family so that it may be reasonably stated that Seami is the actual founder of the Nō play as we find it now.
• 31Not only in tradition but in ancient writings, it says that the Konparu family preserves the mask made by the Prince himself.

Beck, L. Adams（1933）The Ghost Plays of Japan, The Japan Society (NY), New York [EN]

• 28Of these three masks, Toyotomi Hideyoshi gave the Setsu to the House of Konparu, the Getsu to Ieyasu Tokugawa, and the Ka to the House of Kongo.
• 28The Getsu was in the possession of the House of Tokugawa for a time, but was burnt in the fire of the Yedo Castle, and now only the possessions of rhe Houses of Konparu and Kongo are preserved.
• 28This Ko-omote is the Setsu which was possessed by the House of Konparu, but now is in the possession of the House of Kongo.

Nogami, Toyoichirō（1934）Japanese Noh Plays: How to See them, Board of Tourist Industry, Tokyo [EN]

• 11The actors were Mr. Sakurama-Kintaro, a leading actor of the Konparu school, and Mr. Hosyo-Sin, my teacher of utai.

KonperuLombard, Frank Alanson（1928）An Outline History of the Japanese Drama, Allen and Unwin, London [EN]

• 87The Emani, Yusaki, Toyama, and Sakado families, now known as Konperu, Kwanze, Hosho, and Kongo, together with Kita-an outgrowth of Kongo-form in reality two schools, the Shimogakari and the Kamigakari, according to their method of acting.