能における「月」の諸相

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タイトル別名
  • Phases of the Moon in Noh Plays
  • ノウ ニ オケル 「 ツキ 」 ノ ショソウ

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Through its history of over 600 years, Noh has built up a repertory of about 250 plays. At the base of these plays are elemental Japanese aesthetic sentiments toward nature: the four seasons, floras and faunas, wind and water, and in particular, the moon. The moon is referred to in more than 80% of Noh plays in one way or another. The moon in its changing phases sets time, actual or reminiscent. It may symbolize Buddhistic salvation. It may also serve to project various human sentiments. In this paper, I will examine how the Japanese have appreciated the moon as well as how it is delineated in Noh plays through the analysis of play examples where the moon serves as a catalyst for creative expression. While several representative plays are analyzed in depth, the main focus will be placed on Toru (Toru the Nobleman) throughout which the moon runs as a key motif. Through the analyses, I hope to illuminate how the creative expressions of the moon in Noh manifest theatrically the hidden yearning of the Japanese for what may be called 'rapture' or a kind of spiritual salvation.

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