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CERTAIN NOBLE PLAYS OF JAPAN:

From The Manuscripts Of Ernest Fenollosa,

Chosen And Finished

By Ezra Pound

With An Introduction By William Butler Yeats




INTRODUCTION


I

In the series of books I edit for my sister I confine myself to those
that have I believe some special value to Ireland, now or in the future.
I have asked Mr. Pound for these beautiful plays because I think they
will help me to explain a certain possibility of the Irish dramatic
movement. I am writing these words with my imagination stirred by a visit
to the studio of Mr. Dulac, the distinguished illustrator of the Arabian
Nights. I saw there the mask and head-dress to be worn in a play of mine
by the player who will speak the part of Cuchulain, and who wearing
this noble half-Greek half-Asiatic face will appear perhaps like an image
seen in revery by some Orphic worshipper. I hope to have attained the
distance from life which can make credible strange events, elaborate
words. I have written a little play that can be played in a room for so
little money that forty or fifty readers of poetry can pay the price.
There will be no scenery, for three musicians, whose seeming sun-burned
faces will I hope suggest that they have wandered from village to village
in some country of our dreams, can describe place and weather, and at
moments action, and accompany it all by drum and gong or flute and
dulcimer. Instead of the players working themselves into a violence of
passion indecorous in our sitting-room, the music, the beauty of form and
voice all come to climax in pantomimic dance.

In fact with the help of these plays 'translated by Ernest Fenollosa and
finished by Ezra Pound' I have invented a form of drama, distinguished,
indirect and symbolic, and having no need of mob or press to pay its
way--an aristocratic form. When this play and its performance run as
smoothly as my skill can make them, I shall hope to write another of the
same sort and so complete a dramatic celebration of the life of Cuchulain
planned long ago. Then having given enough performances for I hope the
pleasure of personal friends and a few score people of good taste, I
shall record all discoveries of method and turn to something else. It is
an advantage of this noble form that it need absorb no one's life, that
its few properties can be packed up in a box, or hung upon the walls
where they will be fine ornaments.


II

And yet this simplification is not mere economy. For nearly three
centuries invention has been making the human voice and the movements of
the body seem always less expressive. I have long been puzzled why
passages, that are moving when read out or spoken during rehearsal, seem
muffled or dulled during performance. I have simplified scenery, having
'The Hour Glass' for instance played now before green curtains, now among
those admirable ivory- screens invented by Gordon Craig. With
every simplification the voice has recovered something of its importance
and yet when verse has approached in temper to let us say 'Kubla Khan,'
or 'The Ode to the West Wind,' the most typical modern verse, I have
still felt as if the sound came to me from behind a veil. The
stage-opening, the powerful light and shade, the number of feet between
myself and the players have destroyed intimacy. I have found myself
thinking of players who needed perhaps but to unroll a mat in some
Eastern garden. Nor have I felt this only when I listened to
speech, but even more when I have watched the movement of a player or
heard singing in a play. I love all the arts that can still remind me of
their origin among the common people, and my ears are only comfortable
when the singer sings as if mere speech had taken fire, when he appears
to have passed into song almost imperceptibly. I am bored and wretched,
a limitation I greatly regret, when he seems no longer a human being but
an invention of science. To explain him to myself I say that he has
become a wind instrument and sings no longer like active men, sailor or
camel driver, because he has had to compete with an orchestra, where the
loudest instrument has always survived. The human voice can only become
louder by becoming less articulate, by discovering some new musical sort
of roar or scream. As poetry can do neither, the voice must be freed
from this competition and find itself among little instruments, only
heard at their best perhaps when we are close about them. It should be
again possible for a few poets to write as all did once, not for the
printed page but to be sung. But movement also has grown less expressive,
more declamatory, less intimate. When I called the other day upon a
friend I found myself among some dozen people who were watching a group
of Spanish boys and girls, professional dancers, dancing some national
dance in the midst of a drawing-room. Doubtless their training had been
long, laborious and wearisome; but now one could not be deceived, their
movement was full of joy. They were among friends, and it all seemed
but the play of children; how powerful it seemed, how passionate, while
an even more miraculous art, separated from us by the footlights,
appeared in the comparison laborious and professional. It is well to
be close enough to an artist to feel for him a personal liking, close
enough perhaps to feel that our liking is returned.

My play is made possible by a Japanese dancer whom I have seen dance in a
studio and in a drawing-room and on a very small stage lit by