This volume is from 1915.
From the book's Foreword:
People in England and America probably do not realize what
a large part is played by the Theatre in the life of the
Japanese people. This volume will help to give them some
idea of it; and, as a nation, like an individual, reveals
perhaps perhaps more of its true self in its amusements
than in the serious business of life, a perusal of these
pages, giving as they do an idea of the stories which
appeal most strongly to the taste of stories which appeal
most strongly to the taste of the Japanese public, may help
towards a wider understanding of the Japanese national
character. The hold which the classical drama still exercises
on the theatre-goers of Japan may come as a surprise to
many, but should provide a strong link of sympathy to the
country from which Shakespeare's genius sprung. In
recommending this short history of the Japanese stage
from the earliest times down to the present day, to all
who are interested in the evolution of the drama throughout
the world, I fee confident that I am rendering them a
genuine service, and if others, who are anxious on more
general lines to endeavour to learn more of the spirit
and genius of the people of this Empire, will devote a
short time to the study of this subject, I am sure they will
be more than repaid for their pains.
- Kilmarnock
British Embassy, Tokyo,
March 20, 1915
.............................................................................
From the book's Preface:
There are three great periods in the history of Japanese
literature:
Nara Period (710-784), the Heian
Period (800-1186), and the Yedo
Period (1603-1867); and as the Manny o Shu, an anthology, and the Genji Monogatari, a romance, are respectively the representative masterpieces of the first two periods, so the joruri or epical dramas are the representative productions of the
Yedo Period.
The following tales are condensed and adapted from famous epical dramas by Chikamatsu Monzayemon, the " Shakespeare of Japan," Ki-no-Kaion, Chikamatsu Hanji, and five other great
writers. With the exception of The Love of Komachi the Poetess, these dramas are very long, and exceedingly intricate in plot, so that in most cases, one or two acts only of each piece,
which are of permanent interest, are chanted or performed. The present author has done his best to select the essential points of these dramas, while omitting tedious details which have no
important connection with the main plot. He has also endeavoured to give a brief account of such passages as are essential to the main plot, but are of little interest, and to reproduce, in their original form, as far as possible, those acts which are usually chanted or performed.
The author's best thanks are due to Mr. Masukichi Suishu, who gave him valuable assistance in the choice and condensation of the originals; to Professor A. W. Playfair, who revised the manu-
script of one of these stories, and to Mr. Sakaye" Okano for the preparation of the cover design.
A. M.
TOKYO,
March 1915
From the book's Foreword:
People in England and America probably do not realize what
a large part is played by the Theatre in the life of the
Japanese people. This volume will help to give them some
idea of it; and, as a nation, like an individual, reveals
perhaps perhaps more of its true self in its amusements
than in the serious business of life, a perusal of these
pages, giving as they do an idea of the stories which
appeal most strongly to the taste of stories which appeal
most strongly to the taste of the Japanese public, may help
towards a wider understanding of the Japanese national
character. The hold which the classical drama still exercises
on the theatre-goers of Japan may come as a surprise to
many, but should provide a strong link of sympathy to the
country from which Shakespeare's genius sprung. In
recommending this short history of the Japanese stage
from the earliest times down to the present day, to all
who are interested in the evolution of the drama throughout
the world, I fee confident that I am rendering them a
genuine service, and if others, who are anxious on more
general lines to endeavour to learn more of the spirit
and genius of the people of this Empire, will devote a
short time to the study of this subject, I am sure they will
be more than repaid for their pains.
- Kilmarnock
British Embassy, Tokyo,
March 20, 1915
.............................................................................
From the book's Preface:
There are three great periods in the history of Japanese
literature:
Nara Period (710-784), the Heian
Period (800-1186), and the Yedo
Period (1603-1867); and as the Manny o Shu, an anthology, and the Genji Monogatari, a romance, are respectively the representative masterpieces of the first two periods, so the joruri or epical dramas are the representative productions of the
Yedo Period.
The following tales are condensed and adapted from famous epical dramas by Chikamatsu Monzayemon, the " Shakespeare of Japan," Ki-no-Kaion, Chikamatsu Hanji, and five other great
writers. With the exception of The Love of Komachi the Poetess, these dramas are very long, and exceedingly intricate in plot, so that in most cases, one or two acts only of each piece,
which are of permanent interest, are chanted or performed. The present author has done his best to select the essential points of these dramas, while omitting tedious details which have no
important connection with the main plot. He has also endeavoured to give a brief account of such passages as are essential to the main plot, but are of little interest, and to reproduce, in their original form, as far as possible, those acts which are usually chanted or performed.
The author's best thanks are due to Mr. Masukichi Suishu, who gave him valuable assistance in the choice and condensation of the originals; to Professor A. W. Playfair, who revised the manu-
script of one of these stories, and to Mr. Sakaye" Okano for the preparation of the cover design.
A. M.
TOKYO,
March 1915
Used availability for Asataro Miyamori's Tales from Old Japanese Dramas