イェイツの詩劇とフェノサの遺稿

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The aim of this paper is to investigate the significance of the Pound-Fenollosa manuscripts for the verse plays of W. B. Yeats. Yeats stayed with Pound in Stone Cottage in the winter of 1914_15. This was the first time he read Fenollosa's posthumous manuscripts of Noh plays. Certain Noble Plays of Japan was published, with a preface by Yeats, translated by Fenollosa and redacted by Pound, two years later. This published version became the definitive text, incorporating Yeats' suggestions and advice. In the first chapter of the paper, Yeats' relationship with Japanese artists in London will be dealt with, especially, the friendship between Yeats and Noguchi Yone. In 1914, many Japanese literary and artistic figures were living in London. Some of them had moved there to escape the war spreading all over Europe, including the well-known painter, Fujita Tsuguji. The figures I will discuss here are Noguchi Yonejiro (Yone) and Ito Michio with whom Yeats became closely acquainted. Their names can be found in both his works and his letters. Japanese society in London was so small and closed that everyone knew each other. Makino Yoshio, a painter known for The Colour of London, lived with Noguchi Yone. Noguchi's son, the American sculptor, Noguchi Isamu, later made a mask for Yeast's experimental play, At the Hawk's Well, in which Ito Michio danced superbly. Yeats called him a "genius of movement", and described his dancing as "a tragic image". Without Ito, Yeats' verse play might have been difficult to perform. It is generally agreed that Ito was not familiar with the actual performance of the Noh drama. Under the influence of Expressionism and Nijinsky, he realizedwhat Yeats and Pound had sought on the stage, rather than bringing an authentic understanding of Noh. Noguchi Yone published his poems in English and was welcomed by English literary society. Noguchi recollects his close friendship with Yeats in an essay, while Yeats wrote him two letters in which hepraised oriental paintings. The general predilection of this period towards the Oriental things made Noguchi's poems much more acceptable than might have been expected.In the second and third chapters, Yeats' verse plays will be discussed, incomparison with Noh drama. There are many similarities between Only Jealousy of Emer and Awoi no Uye. Both plays attempt to show changing personality through the wearing of two different masks. In Awoi no Uye, the mask of Lady Rokujo changes from "deigan" (jealousy) to "hannya" (the evil spirit).There is a convention concerning plot construction in Noh: Waki (a wandering priest) entrance of Shite (protagonist) interaction between Shite and Waki story of Shite intermission. The second act also proceeds asabove. A ghost often plays the role of Shite and confides his or her secret to the wandering priest, for example in the play, Nishikigi. Yeats made use of the ghost's confession in Dreaming of the Bones. It is clear that the structure of this verse play is based on that of Nishikigi.
2006-03-20

イェイツの詩劇とフェノサの遺稿

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