Tsunemasa
Tsunemasa（1871）Tales of Old Japan, Macmillan, London [EN]
- 85The second piece was Tsunémasa.
- 85Tsunémasa was a hero of the twelfth century, who died in the civil wars; he was famous for his skill in playing on the biwa, a sort of four-stringed lute.
- 85The ghost appears, and sings that it is the spirit of Tsunémasa, and has come to thank those who have piously celebrated his obsequies.
- 85-86The ghost, returning, speaks of former days, when it lived as a child in the palace, and received the Azure Mountain lute from the Emperor—that lute with the four strings of which its hand was once so familiar, and the attraction of which now draws it from the grave. The chorus recites the virtues of Tsunémasa—his benevolence, justice, humanity, talents, and truth; his love of poetry and music; the trees, the flowers, the birds, the breezes, the moon—all had a charm for him.
- 86The ghost bewails its fate that it cannot remain to play on, but must return whence it came. The priest addresses the ghost, and asks whether the vision is indeed the spirit of Tsunémasa.
- 103We do not forget “Changeful Tsunemasa full of the universal unstillness,” who was “loved by the Emperor when he was a boy, but was killed in the old days at the battle of the West Seas.”
- xxxiiiATSUMORI, IKUTA, AND TSUNEMASA
- xxxiiiAt this battle fell Atsumori, the nephew of Kiyomori, and his brother Tsunemasa.
- 25Izutsu, Rōtaiko, Hanagatami, Hanjo, Futarishizuka, Tomonaga, Chikubushima, Oharagōkō, Tsuchigumo, Tsunemasa, Kozō, Sanemori, Hibariyama, Motomezuka, Settai, etc.
- 42The villager of the first scene becomes the ghost, or, as I prefer to call it, the spirit of the departed warrior, as for example, in “Sanemori,” “Ebira,” “Atsumori,” “Tadanori,” “Tsunemasa.”
- 39A scholarly historical, descriptive and critical introduction is followed by the translation of fifteen No and one Kyogen, these being: Atsumori, Ikuta, Tsunemasa, Kumasaka, Eboshi-Ori, Hashi-Benkei, Kotgekiyo, Hachi no Ki, Sotoba Komachi, Ukai, Aya no Tsuzumi, Aoi no Uye, Kantan, Hokazo, Hagoromo, Tanikо̄, Ikeniye, Hatsuyuki, Haku Rakuten,-and the farce Esashi Jūō (The Birdcatcher in Hell.)
- 38This volume contains Fenollosa, Ernest’s notes on Nо̄, and to the four plays privately printed at the Cuala Press in Mr. Pound’s translations it adds versions of Sotoba Komachi, Kayoi Komachi, Suma Genji (referred to by Mrs. Beck), Shojo, Tamura, Tsunemasa, Kinuta, Aoi no Uye (the story of jealousy described by Mrs. Beck), Kakitsubata (also described by Mrs. Beck), Chorio and Genjo – fifteen plays in all.
- 64(Translations of Atsumori, Ikuta, Tsunemasa, Kumasaka, Eboshi-ori, Benkei on the Bridge, Kagekiyo, Hachi no ki, Sotoba Komachi, Ukai, Aya no Tsuzumi, Aoi-no-uye, Kantan, The Hо̄ka Priests, Hagoromo, Tani-kо̄, Ikeniye, Hatsu yuki, Haku Rakuten, with Introduction and Apendices)
- 32The representatives of this group are Tamura, Yasima, Tunemasa, Tadanori, Kiyotune, Mitimori, Tomoe, and Sanemori.
- 53Tunemasa (A Noble Biwa-player of the Heike)