能《高砂》における名所・旧跡 世阿弥の作劇法に照らして

Abstract

This paper attempts to elucidate the meaning of famous places and historic sites (meisho 名所 and kyūseki 旧跡) in Nō. As a key to this issue, in chapter 1-3, we will analyse the dramaturgy described in Zeami's (世阿弥) treatises, Sandō (三道) and Fūshi kaden (風姿花伝), where he explains how waka (和歌) and Chinese poems (kanshi 漢詩) mentioning famous places should be used in Nō. In the chapters 4 and 5 we will examine the Nō play Takasago (高砂, written by Zeami) as a case study. It becomes evident that Zeami regarded famous places and historic sites as crucial elements, and that he situated them strategically near the climax, at the end of ha sandan (破三段). In addition, a close reading of Takasago confirms that, in accordance with the words in his treatises, waka containing famous places and historic sites not only appear at the climax, but they serve also to define the theme and the emotions of the characters. As this paper is focusing on the one Nō play Takasago, it is impossible to generalize its findings at this point. Further study of this kind is needed to decide whether these characteristics apply to all of Zeami's Nō works and to the canon of the more than 200 Nō plays. It is clear, however, that most of the Nō plays are characterized by the use of meisho and kyūseki, and that they are an indispensable part of their structure.