{"id":99,"date":"2015-08-18T13:02:13","date_gmt":"2015-08-18T17:02:13","guid":{"rendered":"https:\/\/sites.bu.edu\/learningtokneel\/?page_id=99"},"modified":"2015-09-08T15:15:15","modified_gmt":"2015-09-08T19:15:15","slug":"ezra-pound-as-noh-student","status":"publish","type":"page","link":"https:\/\/sites.bu.edu\/learningtokneel\/home\/ezra-pound-as-noh-student\/","title":{"rendered":"Ezra Pound as Noh Student"},"content":{"rendered":"<figure id=\"attachment_133\" aria-describedby=\"caption-attachment-133\" style=\"width: 417px\" class=\"wp-caption aligncenter\"><a href=\"\/learningtokneel\/files\/2015\/08\/hagoromo-photo6.jpg\"><img loading=\"lazy\" src=\"\/learningtokneel\/files\/2015\/08\/hagoromo-photo6-407x636.jpg\" alt=\"hagoromo-photo6\" class=\"wp-image-133 size-medium\" height=\"636\" width=\"407\" srcset=\"https:\/\/sites.bu.edu\/learningtokneel\/files\/2015\/08\/hagoromo-photo6-407x636.jpg 407w, https:\/\/sites.bu.edu\/learningtokneel\/files\/2015\/08\/hagoromo-photo6-655x1024.jpg 655w, https:\/\/sites.bu.edu\/learningtokneel\/files\/2015\/08\/hagoromo-photo6.jpg 1024w\" sizes=\"(max-width: 407px) 100vw, 407px\" \/><\/a><figcaption id=\"caption-attachment-133\" class=\"wp-caption-text\"><em>Hagoromo<\/em>. \u201cIt is as if the whole dance lives in the sleeves of the feather robe, performing the way of the Palace of the Moon.\u201d Photograph (c) Toshiro Morita. Provided by http:\/\/www.the-noh.com.<\/figcaption><\/figure>\n<p>The first chapter uses the famous play, <em>Hagoromo<\/em> (<em>The Feather Mantle<\/em>), to explore noh dramaturgy and performance technique. Pound received a version of <em>Hagoromo<\/em> along with other draft translations of noh plays by Ernest Fenollosa and Hirata Kiichi, and it had a surprising impact on his theories of imagism and <em>The Pisan Cantos<\/em>.<\/p>\n<figure id=\"attachment_43\" aria-describedby=\"caption-attachment-43\" style=\"width: 540px\" class=\"wp-caption aligncenter\"><a href=\"\/learningtokneel\/files\/2015\/08\/takeda_stage.jpg\"><img loading=\"lazy\" src=\"\/learningtokneel\/files\/2015\/08\/takeda_stage.jpg\" alt=\"takeda_stage\" class=\"wp-image-43 size-full\" height=\"352\" width=\"530\" \/><\/a><figcaption id=\"caption-attachment-43\" class=\"wp-caption-text\">A noh stage. Courtesy of David Surtasky.<\/figcaption><\/figure>\n<p><strong>The noh stage<\/strong><\/p>\n<p>The stage is constructed of polished Japanese cypress to form a square with pillars (<a href=\"\/learningtokneel\/glossary\/#hashira\" title=\"wooden pillars\"><em>hashira<\/em><\/a>) at the four corners. A bridgeway or <a href=\"\/learningtokneel\/glossary\/#hashigakari\" title=\"bridgeway \"><em>hashigakari<\/em> <\/a>extends approximately eight meters from stage right and is flanked by three pine trees of decreasing size to create an impression of distance. The only scenery for noh plays are stage properties called <a href=\"\/learningtokneel\/glossary\/#tsukurimono\" title=\"stage properties\"><em>tsukurimono<\/em><\/a>, literally <em>built things<\/em>, like this pine or the bare frame of a boat, usually made of bamboo wrapped in white cloth with little effort to make it look like a <em>real thing<\/em>. A large pine tree called the <a href=\"\/learningtokneel\/glossary\/#oi-matsu\" title=\"large pine\"><em>oi-matsu <\/em><\/a>is painted on the back wall of the theater.<\/p>\n<figure id=\"attachment_37\" aria-describedby=\"caption-attachment-37\" style=\"width: 432px\" class=\"wp-caption aligncenter\"><a href=\"\/learningtokneel\/files\/2015\/08\/benkei_boat.jpg\"><img loading=\"lazy\" src=\"\/learningtokneel\/files\/2015\/08\/benkei_boat-422x636.jpg\" alt=\"benkei_boat\" class=\"wp-image-37 size-medium\" height=\"636\" width=\"422\" srcset=\"https:\/\/sites.bu.edu\/learningtokneel\/files\/2015\/08\/benkei_boat-422x636.jpg 422w, https:\/\/sites.bu.edu\/learningtokneel\/files\/2015\/08\/benkei_boat.jpg 530w\" sizes=\"(max-width: 422px) 100vw, 422px\" \/><\/a><figcaption id=\"caption-attachment-37\" class=\"wp-caption-text\">A <em>tsukurimono<\/em> or \u201cbuilt thing\u201d: the frame of a boat bound to the wall. Photograph by David Surtasky.<\/figcaption><\/figure>\n<hr \/>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The first chapter uses the famous play, Hagoromo (The Feather Mantle), to explore noh dramaturgy and performance technique. Pound received a version of Hagoromo along with other draft translations of noh plays by Ernest Fenollosa and Hirata Kiichi, and it had a surprising impact on his theories of imagism and The Pisan Cantos. The noh [&hellip;]<\/p>\n","protected":false},"author":10800,"featured_media":0,"parent":5,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/99"}],"collection":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/users\/10800"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/comments?post=99"}],"version-history":[{"count":21,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/99\/revisions"}],"predecessor-version":[{"id":385,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/99\/revisions\/385"}],"up":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/5"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/media?parent=99"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}