Yōkyoku tsūkai
Yō-kyoku Tsūge（1899）A History of Japanese Literature, Heinemann, London [EN]
- 200Of the two hundred and thirty-five No contained in the latest and most complete collection (the Yō-kyoku Tsūge), no fewer than ninety-three are assigned to Se-ami Motokiyo, the second of the line of official managers ; his father, Kwan-ami Kiyotsugu, being credited with fifteen.
- 200The Yō-kyoku Tsūge editor suggests, with great probability, that although the names of Kiyotsugu, Motokiyo, and their successors are given as authors of the No, they were in reality only responsible for the music, the pantomimic dance (the “business,” as we might say), and the general management.
- 1In Japanese the texts of the No dramas, all of which were written before the sixteenth century, are collected in a great work, the Yokyoku Tsukai, in which various editions give as many as two hundred and thirty-five to two hundred and sixty-two utai, as the librettos of the No are called.
- xxivIn Japanese I have used Owada’s Yokyoku Tsukai and Yokyoku Hyoshaku, while I have found extremely useful a small work entitled No to Utai no Kōwa by the late Professor Takahiko Amanuma, as also Meisaku Yokyoku Shinsaku by Nomoto Yonekichi, kindly presented to me by Lieutenant-Commander T. Onitsuka
- 9There prevails a universal consensus of opinion about this view. Even Mr. Tateki Owada, the author of the Yōkyoku-Tsūkai (common explanation of Utai), admits the correctness of this opinion, although in his works, he mentions the name of the supposed author of each play.