Miidera
Mii-dera（1934）Japanese Noh Plays: How to See them, Board of Tourist Industry, Tokyo [EN]
- 35In the “Lunatic Pieces” a madman is sometimes represented, but in most cases a mad woman, such as the mother who goes mad through losing her child, as in Sakuragawa (The Mother on the River Sakura), Mii-dera (The Mother at the Court of the Temple Mii), Hyakuman (The Mother Hyakuman at Saga) and Sumidagawa (The Mad Mother on the River Sumida);
- 56Mii-dera (The Mother at the Court of the Mii-dera Temple)
- 24Iwafune, Hagoromo, Tomoe, Chōryō, Nue, Orochi, Kamo, Kaki-tsubata, Kashiwazaki, Kanawa, Yorimasa, Youchisoga, Tadanori, Takasago, Tamura, Sotobakomachi, Tsurukame, Raiden, Ukai, Uta-ura, Nomori, Nonomiya, Kuramatengu, Kurumazo, Kwagetsu, Yashima, Kenjō, Fujitaiko, Kosode-soga, Tenko, Aioi, Ayanotsuzumi, Aridōshi, Saigyōzakura, Sagi, Sakuragawa, Kinuta, Kiyotsune, Yuya, Miwa, Miidera, Shōjō, Jinenkoji, Shō-kun, Hyakuman, Momiji-gari, Morihisa, Zegai, Sumagenji, Eboshi-ori, Ebira, Ema—52 in all.
- viiQuando non sono del tutto assenti, come spesso avviene, essi acquistano un carattere assolutamente proprio e si convertono in simboli piuttosto che essere oggetti reali: cosi “la bronzea campana del tempio di Midera compare sotto la forma di un sonaglio, il carrozzino del no intitolato Matsucaze sotto quello di un giocattolo, i cedri del no intitolato Miwa sono simboleggiati da due ramoscelli, un tempio intero da una intelaiatura su cui quattro pioli sostengono un minuscolo tetto di paglia.”
- 18But the lyrical ones include the romanitc plays, such as “Matsukaze,” “Yuya,” “Izutsu,” the plays depciting mother-love, like “Sumidagawa,” Sakuragawa,” “Miidera,” “Kashiwazaki,” and also such pieces as “Semimaru,” and “Kagekiyo.”
- 20The fourth class generdly deals with the subject of a mind distraught, of a mother seeking for her lost child, as in” Kashiwazaki,” “Sumidagawa,” “Miidera,” “Sakuragawa,” “Hyakuman,” or of one crazed by love, as in “Dojoji.”
- 34For example, in “Miidera,” when the mad mother is enjoying poetically the flower sand the moon, it is not so much her sorrow as the identification of her mind with boouty which is the predominant idea.