ภาพลักษณ์พ่อแม่ลูกในบทละครโน ......บทละครโน, บทละครโน ท แต งในสม ยม โระมะช

12 jsn Journal Vol.5 No.2 (Dec. 2015)

* ขอขอบคุณProfessorRobertBorgen,Professor Emeritus,UniversityofCalifornia,Davis,ที่กรุณาให้คำาแนะนำาที่มีคุณค่ายิ่งและตรวจทานบทความฉบับนี้

** ศาสตราจารย์ดร.,คณะอักษรศาสตร์จุฬาลงกรณ์มหาวิทยาลัย,254ถนนพญาไท,ปทุมวัน,กรุงเทพมหานคร10330,อีเมล:[email protected]

*** อาจารย์ดร.,คณะมนุษยศาสตร์และสังคมศาสตร์,มหาวิทยาลัยราชภัฏนครราชสีมา, 340ถนนสุรนารายณ์,ในเมือง,นครราชสีมา30000,อีเมล:[email protected]

สิริมนพร สุริยะวงศ์ไพศาล**

วินัย จามรสุริยา***

คำ� สำ�คัญ

บทละครโน,บทละครโน

ท่ีแต่งในสมัยมุโระมะชิ,

ภาพลักษณ์ของพ่อแม่ลูก,

บทละครโนที่ ไม ่อยู ่ ใน

รายการแสดงในปัจจุบัน

บทคัดย่อ

งานวิจัยนี้ศึกษาภาพลักษณ์ของพ่อแม่ลูกในบทละครโน

สมัยอื่นซ่ึงหมายถึงเรื่องที่แต่งหลังสมัยมุโระมะชิและเรื่องที่ยังไม่มี

หลักฐานแสดงว่าแต่งในสมัยมุโระมะชิ โดยเป็นเรื่องที่แสดงความ

สัมพันธ์ระหว่างพ่อแม่กับลูก จำานวน146เรื่อง และเปรียบเทียบ

กับภาพลักษณ์ของพ่อแม่ลูกในบทละครโนที่แต่งในสมัยมุโระมะชิ

(คริสต์ศตวรรษที่ 14-16) ซึ่งเป็นผลงานวิจัยของ เสาวลักษณ ์

สุริยะวงศ์ไพศาล งานวิจัยนี้ จึงให้ภาพรวมของภาพลักษณ์ของ

พ่อแม่ลูกในบทละครโนทุกสมัย

การวิจัยได้พบว่าภาพลักษณ์ของลูกและแม่ในบทละครโน

ท้ังสองกลุ่มเป็นภาพลักษณ์ด้านบวกโดยเรื่องท่ีแต่งในสมัยมุโระมะชิ

มีภาพลักษณ์ที่โดดเด่นของลูกคือการเสียสละชีวิตเพื่อพ่อภาพลักษณ์

ท่ีโดดเด่นของแม่คือการปกป้องลูกโดยเฉพาะลูกชายขณะท่ีเรื่อง

ที่แต ่งในสมัยอื่น มีภาพลักษณ์ที่ โดดเด ่นของลูกคือ การดูแล

พ่อแม่อย่างดีภาพลักษณ์ที่โดดเด่นของแม่คือการมีอาการวิกลจริต

และเดินทางตามหาลูกซ่ึงส่วนใหญ่เป็นลูกชาย ในทางตรงกันข้าม

ภาพลักษณ์ของพ่อในเรื่องที่แต่งในสมัยมุโระมะชิเป็นด้านลบมากกว่า

ด้านบวกภาพลักษณ์ด้านลบที่โดดเด่นคือการเป็นเหตุให้เกิดภัยแก่

ชีวิตลูกหรือเป็นเหตุให้เสียชีวิตซึ่งส่วนใหญ่เป็นลูกสาวแต่เรื่องที่แต่ง

ในสมัยอื่นมีภาพลักษณ์ของพ่อด้านบวกมากขึ้นโดยเฉพาะต่อลูกสาว

ภาพลักษณ์ด้านบวกที่โดดเด่นของพ่อในเรื่องที่แต่งในสมัยอื่นคือ

การปกป้องลูก

ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย*

jsn Journal Vol.5 No.2 (Dec. 2015) 13

ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย

* Wewould like to show our gratitude to Professor Robert Borgen,Professor Emeritus, University of California, Davis,who kindly gavesuggestionsandhelpedrevisethepaper.

** ProfessorDr.,FacultyofArts,ChulalongkornUniversity,254PhyathaiRoad,Patumwan,Bangkok10330,Thailand,e-mail:[email protected]

***Dr.,FacultyofHumanitiesandSocialSciences,NakhonRatchasimaRajabhatUniversity,340SuranaraiRoad,Naimuang,NakhonRatchasima30000,e-mail:[email protected]

Sirimonporn Suriyawongpaisal**Winai Jamornsuriya***

Key wordsNohplays, Imagesof

childrenandparents,

Nohplaysof theMu-

romachiperiod,Non-

currentNohplays

Abstract

Thisresearchcomparestheimages

of childrenandparents inNohplaysof

differentperiods. It studies the imagesof

childrenandparents inNohplayseither

written after theMuromachi period or

of uncertain date (for convenience,

“plays fromother periods”), a total of

146plays. It thencompares the images

with those found in Noh playswritten

during theMuromachiperiod (C14th -16th),

a total of 133plays. The research thus

gives a comprehensive picture of the

imagesofchildrenandparentsinNohplays

ofallperiods.

Thestudyfinds that the imageof

childrenandmothers inboth groupsof

playsisapositiveone.InplaysfromtheMu-

IMAGES OF CHILDREN AND PARENTS IN NOH PLAYS FROM DIFFERENT PERIODS*

romachiperiod,themostsalient imageof

children is life sacrifice for the father,

whereas in those from other periods

the focus is usually on filial care of

parents.As formothers, inplays fromthe

Muromachiperiod,theyaremostlyshown

protectingtheirchildrenespeciallytheson;

inotherperiods, theyaredrivenevento

insanityas they search for lost children,

mostlytheson. Incontrast, inMuromachi

plays, fathers havenegative images, as

theythreatenthelifeoforactuallycause

thedeathofchildren. Inplays fromother

periods, however, fathers areportrayed

morepositively.Themostsalientoneisas

protectorsoftheirchildren.

สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา


1 Itisratherdifficultforscholarstospecifyoragreeonthedateandauthorofaparticularplayespeciallythoseoutsidethecurrentrepertoire.Inmanycases,scholarshavenoevidencetorelyon.TakemotoMikio,HashimotoAso,ed.,NohKyougenhikkei,Gakutousha,1995,providesalistofnon-currentplaysthathavestrongevidenceaswrittenintheMuromachiperiod.Theterm“Muromachiperiod” inthisbookdoesnotnecessarily refer tothehistoricalMuromachiperiodofc.1338-1573, butrathervaguelyaroundthattime. Inthisresearch,anyplaynotlistedinthisbookfallsunderthecategoryof“playsof otherperiods”.

2 SaowalakistheformergivennameofSirimonpornSuriyawongpaisal,thefirstauthorofthepresentpaper.

1. Introduction This researchanalyzes imagesof

childrenandparents inNohplayswritten

aftertheMuromachiperiod(1336-1573)or

ofuncertaindate(forconvenience,“plays

ofotherperiods”),atotalof146plays.1 It

thencomparestheimageswiththosefrom

NohplayswrittenintheMuromachiperiod

aspresentedinSaowalakSuriyawongpaisal,

2006,“TheParent-ChildImageinNohPlays”2.

This paper thus gives a comprehensive

pictureofparent-childimagesinNohplays

ofallperiods.

2. Methodology The research follows the same

methodology and terminology used in

Saowalak’swork,whichcanbesummarized

asfollows:

1.TheNohplaysstudiedare“any

playsthatportraytheimageofthefather,or

themother,orthechild/children,orthere-

lationshipbetweenthem,nomatterwheth-

ersuchcharacterappearsas themainor

minorcharacter,orissimplyreferredtoin

theplays,nomatterwhetherparent-child

relationshipsisthemainthemeorstory-line

ornot”(SaowalakSuriyawongpaisal,2006:4)

2.Thestudyfocusesontheimage

ofthechild, father,andmotheronlyasa

child,father,andmother,andnotasaper-

sonplayinganyother role insociety that

mayalsoappearintheplay.

3.The judgmentasapositiveor

negative image isdeterminedbytheper-

son’sdeedsor intentionsastheplaynar-

ratesthemthatbenefitsorharmstheother

party.

3. Results Among the146plays in scopeof

the research, 12plays includeaparent-

childbondbutdonotshowanypositive

orminus image.The remaining134plays

portraytheimageofthechild,father,and

motherasfollows.

3.1 The Child 3.1.1PositiveImages

A positive image of the child is

moreconspicuousthananegative image.

This is thesameresultas foundfromthe

Muromachiplays,buttherearebothsimilar

anddifferentexpressionsoffilialpiety.The

similaronesare sacrificeof life, revenge,

rescue, visiting,makingmerit for adead

15jsn Journal Vol.5 No.2 (Dec. 2015)


parent/s,caregiving,andbeingobedient.

ThreecategoriesarefoundonlyintheMu-

romachiplays:sellingoneself,willingnessto

takeoversuffering,andcontinuedlovefor

astepfather.Categoriesfoundonlyinplays

ofotherperiodsareprayingforaparent/s’

longevity,doingsuper-humandeeds,help-

ingcausereincarnationasahuman,helping

toearnaliving,extendedloveforastep-

mother,protectingafamily’sname,caring

for feelings,andmeetingexpectations. In

addition to theabovedifferent typesof

filial categories, the focusoffilial acts is

alsodifferent.Forexample,eighteenMu-

romachiplaysfeatureachild’slifesacrifice

forparent/s,whereasonly threeplaysof

otherperiodshave this element. In the

plays fromotherperiods, thecategoryof

care giving appearsmost frequently. In

summary,thestudyfindsthattheimageof

childreninbothgroupsofplaysisapositive

one. Inplays fromtheMuromachiperiod,

theimageofself-sacrificeismostcommon,

whereas in those fromotherperiods the

focusisusuallyonfilialcareofparents.

3.1.2NegativeImages

Negative imagesof the childare

overshadowed by the positive ones in

playsofalltheperiodsbothinthenumber

ofplaysandnatureofunfiliality. Similar

negativeimagesinthetwogroupsofplays

aredisobedience, andneglect of one’s

studies.Playsof laterperiodsfeaturenew

categories:givingtrouble,causingamother

tocommitsin,andnot returningparents’

benevolence.

3.1.3SonsvsDaughters

AsisthecasewiththeMuromachi

plays,playsofotherperiodsfeaturetheson

farmorethanthedaughter.Onedifference

isthatthesoninplaysofotherperiodshas

astrongerpositiveimagethanthedaughter

whereasintheMuromachiplaystheirposi-

tiveimageismoreorlessthesame.Asfor

thenegativeimage,thedaughterinplaysof

otherperiodshasanegativeimageinabout

oneeighthofall theplays featuring the

daughter,ahigherfigurethantheson.This

is theoppositeoftheMuromachiplays in

whichthedaughteralmostneverhasaneg-

ativeimage.Insummary,theoverallimage

ofthesongotbetterastimepassed,which

istheoppositeofthedaughter.

3.1.4Therecipientoffilialpiety

IntheMuromachiplays,thefather

appearsalmosttwiceasoftenasthemoth-

erastherecipientofthechild’s,particular-

lytheson’sfilialpiety,butastimepassed,

thesituationchangeddramatically.Inplays

ofotherperiods,theyareequalinthisre-

spect.Oneinterestingpointiswhetherthe

fatherandmotherenjoyfilialpietywhen

heorshe isstillaliveoronlyafterdeath.

In thecategoryof revenge, thesonseeks

revengeagainstanenemywhokilledhis

father,andso it is thedeadfatherwho is

therecipientof thisactoffilialpiety.The

ratioofdeadtolivingfatherasrecipientof



allcategoriesisabouthalfandhalfinplays

ofbothgroups,butthemotherinplaysof

otherperiodsnotonlyenjoysherchild’s,

particularlyherson’s,filialpietymorethan

intheearlierplays,shealsoenjoysitduring

her lifetimemuchmoreoften thanafter

death.

3.1.5Therecipientofunfiliality

InMuromachi plays, the father

enjoysason’sfilialpietymoreoftenthan

doesamotherandhe isalsoaffectedby

achild’sunfiliality less thanamother. In

playsfeaturingtheson’srevenginghisdead

father’senemy,whichisquitecommon,it

isthemotherwhosuffers.Inplaysofother

periods,asalreadyseen,themotherequal-

lyenjoysthechild’sfilialpiety,butwhen

it comes to suffering fromunfiliality, the

motherstillhastoendurethis.

3.2 Fathers 3.2.1Positiveimages

Unlikewhat is found in theMu-

romachiplays, inplaysofotherperiods,

positive imagesof fathersaremorecom-

mon than negative ones. Categories of

positiveimagessharedwiththeMuromachi

plays includeseeking revenge,protecting,

searchingasaninsanepersonorotherwise,

andcreatingmerit foradeadchild.New

categoriesaregivingprioritytoachildover

duty,caring,forgiving,andgivingencourage-

ment,whilethecategoryofsacrificing life

isnotfoundinplaysofotherperiods.The

father in theplaySekidobelongs to two

categories:protectingandgivingpriorityto

thechildoverduty.Heindeedstandsout

amongalltheplaysinbothgroupsasheis

theonlysamuraiwhoeversurrenderstoan

enemyinordertosavehisson’slife.

3.2.2 Recipients of the fathers’

benevolence

In plays of other periods, sons

appear farmoreoften thandaughtersas

recipientsofa father’sbenevolence.The

situation did not changemuch in later

periods.

3.2.3Negativeimages

Thecategoriesof threatening the

life of or actually causing thedeathof

children,deserting,andcausing longsep-

arationare found inbothgroupsofplays.

Anotherpointof similaritiesbetweenthe

twogroupsisthatthereareplaysthatfea-

turethefathers’positiveandminusimages

in thesameplay.Furthermore,all these

playsalwaysdepicttheminusimagesfirst.

Forexample,thefatherinKitano kazuraki,

ofotherperiods,goesouttosearchforhis

daughterafterdesertingherbecauseofthe

stepmother’sslander.

3.2.4Thechildwhosuffers

Daughters suffermore than the

sons fromharmdoneby fathers inboth

groupsofplays,but inplaysofotherpe-

riods, thepicture looks a littlebrighter.

Thegapbetweenthedaughtersandsons

becomes smaller.Moreover, inplaysof



3 ToaBuddhist,makingsomeoneleavethepriesthoodisnotapositiveimage.Butasstatedbefore,thejudgmentasapositiveornegativeimageisdeterminedbytheperson’sdeedsor intentionsastheplaynarratesthemthatbenefitsorharmstheotherparty.Inthiscase,themother’sdeedwillbenefitthechild.Evenifitharmsthefather,thisisnotwithinthescopeofthisresearchwhichstudiesonlythechild–parents’relations.

otherperiods,thereisnofatherwhoactu-

allyintendsandsucceedsinkillinghisown

daughterwithhisownhandasin Nureginu,

aMuromachiplay.

3.3 Mothers 3.3.1Positiveimages

Mothers inplaysofotherperiods

maintainthestrongpositiveimagesseenin

Muromachiplays,althoughthedegreeof

their loveanddedicationmayseem less

commendableorextreme.Inlaterperiods

theyno longersacrificetheir livesnordo

they sell themselves for the sakeof the

children.Themost frequently foundsto-

riesaboutthemothers’attachmentdepict

howtheybecomederangedwhilesearch-

ing for their lostchild.Newcategoriesof

mothers’positiveimagesarehowtheygive

encouragementtotheirson,askapriestto

educatetheson,andsuccessfullyurgethe

fathertoleavehispriesthoodinordertogo

homeandsupporthisson.3

3.3.2Recipientsof themothers’

dedication

Thesituationdidnotchangeastime

passed.Lessthanonetenthofalltheplays

inbothgroupsthatportraymother-daugh-

terrelationsfeaturehowdaughtersreceive

benevolencefromtheirmothers.Almostall

ofthemotherlyloveanddedicationwent

totheson.

3.3.3Negativeimages

OnlyoneMuromachiplayportrays

anegativeimageofamother.Inthatplay,

theparentscausethedeathofthedaugh-

ter’spartner.Anegativeimageofamother

isalso rare inplaysofotherperiods.One

play,Chihiro no hama,narrateshowthe

mother, togetherwiththefather,obstruct

theirdaughter’slove,causinghertodrown

herself. InKosodegoi, themotherdisowns

hersoncausinghimtoroamthecountry,

butshedoes it forthesakeoftheson in

thehopethathewillgiveuphisintention

ofrevenge,whichwouldfinallybringhima

deathsentence.

4. Discussion In comparisonwith fathers, sons,

and daughters,mothers have the best

images inbothgroupsofplays.Theyare

more attached anddedicated than the

fathers to their children.This conclusion

mayreflecttherealityofJapanesesociety,

or,forthatmatter,mostsocieties.Another

possibilitywouldbe that theplayspre-

sentanidealizedimageofamother’srole,

whichmaynot reflect the realityofhow

mothersactuallybehaved.Whicheveristhe



4 Forexample,wefindnovelsdepictinghowthewiveshadaffairs,orlefttheirhusbands.SeeOsawaMachiko,2010.

case,itisinterestingtonotethisfindingin

Nohplays.Alltheplaywrights,actors,cho-

rus,musiciansweremale.Thesignificant

patronswerealsomalesandsotheplays

wereproductsof apredominantlymale

world. This situationmaypartly explain

whybothgroupsofplaysdepictfather-son

relationsmoreoftenthanfather-daughter,

mother-son,ormother-daughterrelations.

ConfucianandBuddhistmisogynymayalso

beafactor.Maleplaywrights,however,did

nottrytopresentmorepositiveimagesof

fathers thanofmothers,orperhaps they

chosenot todistort the realpicture.The

maleNohplaywrightshadandexpressed

theirfaithinwomen,or,moreprecisely,in

theirmothers.Unlikemodernwriters,they

consistentlypresent idealized imagesof

mothers.4Naturally, inallsocietiesneither

mothersnorfathersareperfectallthetime.

Unfortunatelywe are all human,which

meansweallmakemistakes. It’s interest-

ing tonotethatmodernwritersaremore

willingtodiscussflawedmothersthanwere

theauthorsoftheNohplays.

Theabovefindingaboutthemoth-

ers’ images iscommontothetwogroups

ofplays,but,infact,therearequiteafew

interestingdifferencesworthdiscussing.

Thefirstissueistheelementofreligionand

miracles.Approximately40%ofplaysof

otherperiods,butonlyaround16%ofMu-

romachiplaysdepict thiselement.There

maybe twopossibleexplanations.One

wouldbe thatbelief inmiraclesbecame

morecommonandsotheplays reflected

thisnewreality.Theotherwouldbethat,in

laterperiods,religions,bothBuddhismand

Shintoism,playedalesserroleinJapanese

society,andsoNohplays,whichhadbeen

onekindoftoolforspreadingfaithinreli-

gions,cametoplaceevenmoreemphasis

onthisfunction.

Ifwe furtheranalyze theelement

of religionandmiracles inplaysofother

periods,wefind that theplaysprobably

reflect theJapanesesocietyafter the17th

centurywhen Buddhismwas oversha-

dowedby ShintoismandConfucianism.

ComparedwithMuromachi plays, there

aremoreplaysofotherperiodsthatdepict

miraclesof reunionand resurrectionthat

areconnected todivinepowerofShinto

deities.Therearealsomorestoriesabout

rewardsforfilialchildrenthathaveorigins

fromChina,includingstoriesaboutthesage

Mencius（孟宗）,EmperorShun（舜）.

Inthisregard,wefindthiselement

of religionandmiraclesdiffers from the

“this-world thinking and realistic sense

of themerchant townsmen” (Kawatake

Toshio,1971:7) intheKabukiandBunraku

theateroftheEdoperiod.

Parent-Child relations appear in

several forms in Japanese literature. For

example,parent-child relations inNihon



5 InMuromachiplays,weseethiskindofchildinTomoakiraandNagara no hashi.ThespiritofthesoninTomoakirawhodiedsacrificinghislifeforhisfathercomestobegapriesttoprayforhisfather’ssalvation.ThespiritofthedaughterinNagara no hashisayssheiswillingtotakeoverthesufferingsofhisdeceasedfather.

Ryōiki,acollectionofBuddhist stories,of

theearlyHeianperiod(794-1185)arequite

differentfromthose inNohplays.Accord-

ing toNaitōAyako (2000:70-78), inNihon

Ryōiki,holdingmemorialservicesforones,

deceasedparents is thenormal formof

filialpiety.Neithercaregivingnorfinancial

supportareexpected.Naitōexplains thatthis isbecauseduringthatperiodparents

and grown-up childrenwere financially

independent.Naitōconcludesthat,atthattimewhereas living parents supported

andprotectedtheirchildren,afterdeatha

child’sdebttoparentswasrepaidbyhold-

ingmemorialservices for them.This form

offilialpietyisdifferentfromConfucianism,

whichrequireschildrentobothtakegood

careoftheparentswhile livingaswellas

makemeritforthedeceasedparents.

Asthisresearchdemonstrates,filial

behavior inNohplaysofbothgroupsis in

accordancewithConfucianteachings.How-

ever,tobemoreaccurate,itgoesbeyond

Confucianism.Children inNohplays are

filialevenafter theirowndeath. Inone

playofotherperiods,Hyakumanben, the

spiritofayoungsonpleads forapriest’s

assistance in revenginghis father’sdeath.

Hehadtriedtodoitduringhisownlifetime

butdiedbeforethetaskwasaccomplished.

This lingering attachment causeshim to

agonizefurtherintheafterworld.Thanksto

hisposthumousfilialdevotion,heisfinally

successful.His spiritactuallycutsoff the

enemy’shead.5

Having compared parent-child

relations inNohplaysofdifferentperiods,

the researchwill bemoremeaningful

whenwetakeonestepfurthertocompare

thoseimageswithpracticesinthepresent

globalized Japanese society. At first

glance,onemight think thatpresent-day

Japanesesocietyisalmosttotallydifferent

fromthatofthetimewhenNohplayswere

writtenintheMuromachiperiodandlater,

andsothenatureoffilialpietymustalso

beverydifferent.Thatmaynotbetotally

wrong, but a closer look reveals some

continuities.

Filialpracticescontinue inmodern

Japan. Japanesestill valuecreatingmerit

fordeceasedparentsandvisiting family.

ThemassivereturnhomeduringtheObon

festival shows how Japanese carry out

thesepractices.Theglobalizedworldof

fastandconvenienttechnologymakesfilial

pietyeasiertoperform.Makingphonecalls

or showingone’s face throughskypecan

alsobecountedasformsoffilialpiety.As

fortakingcareofagedparents,workingchil-

drenareaidedbythealternativesofday

carecentersand long-termoldpeople’s



centers. Justbecausechildrenno longer

sacrificetheirlivesfortheirparentsorseek

revengeona father’senemy,weshould

notconclude thatpresent-day Japanese

arelessfilialthaninthepast.Formsoffilial

pietynaturallychangedwithtimeasdidthe

natureofparents’benevolence.Parental

lovemaybeuniversalandnotboundby

time,buttodayJapaneseparentsmaynot

expecttorelyontheirchildrenforfinancial

supportduringtheiroldage.Theyarecon-

tentto liveontheirsavingsandpensions

soasnottobecomeburdensontheirchil-

dren.

5. Conclusion This paper is a comprehensive

studyoftheparent-childrelationsandim-

ages intheNohplaysthatalsocompares

thoseof theMuromachiperiodwithones

fromothertimes.AnoldJapaneseproverb

adoptedfromChinasays, furuki wo tazune

atarashiki wo shiru,(oronkochishin 温故知

新),whichmeanswemuststudythepast

inorder tounderstand thepresent. The

imagesofthechildren,fathers,andmoth-

ersintheNohplaysmay,tosomeextent,

giveusabetter insight into theJapanese

families in the contemporary globalized

Japan.Theresearchshouldalsobeasig-

nificantcontributiontothefieldofgender,

whichhasbecomeoneof thesignificant

fociinthestudyofJapaneseliterature.The

papergivesapictureofdifferencesinmoth-

er-sonrelations,mother-daughterrelations,

father-son relations, and father-daughter

relations. It alsooffersavividpictureof

Japanesewomen from theMuromachi

through theTokugawaperiods. Japanese

womenhavebeensaidtobesubordinate

andsubmissivetomen,playinganinferior

roleinsociety,butthispaperoffersasome-

whatdifferentpicture.Weseemotherswho

arebraveenoughtohelp their sonsfight

orfightseekingrevengefortheirsons,and

motherswhoroamthecountryforyears,in

oneplayofotherperiodsforthirtyyears,to

lookfortheirbelovedchildren.Wealsosee

bravedaughterswhofight, sacrifice their

life,sell themselves,ordaretochallenge

theauthority,all for the fatherormother

orboth.

Harumi Befu (1971:167-8) states

thatthe“genesisoftheon（恩）relationship

is found in theparent-child relationship,

whereparentsgivelifetothechild,provide

nurturance, and socializehim.Thechild

is then forever indebted to theparents...

Insofarasparentsexpectthechildtorepay

thedebt in sociallyaccepted forms, the

childmustbehaveaccordingly ifhe isnot

tohurt theparents’ feelings andconse-

quentlyalienatehimselffromthem.”Befu

(1971:170)alsostatesninjō （人情） refersto

aperson’snaturalfeelingsandinclinations,

whichmayormaynotbe inaccordwith

giri （義理） [meaning socialobligation]. If

conflictarises“therearethreealternatives:



one,tosuppressone’sprivatefeelingsand

honormoralprinciples;two,tocloseone’s

eyesfrommoralobligationsandfollowthe

dictatesofone’sfeeling;andthree,toan-

nihilateoneselfthroughcommittingsuicide,

beingableneither to ignore thesociety’s

moralobligationsnorsuppressone’smoral

desires.”

InalltheNohplaysstudiedinthis

research, those three terms,on, giri, and

ninjō,almostneverappear,theonlyexcep-

tionbeingtheuseofonintheplays Saku-

rai,Sakurai no eki,andShigemori.Although

the termsarenotused,wefindchildren

repaying thedebt theyowe to theirpar-

ents.Theystrictlycarryouttheirgiriwithout

hesitation.Conflictsbetweengiriandninjō arepresentedonlyintheplaysManjū andSekido.InManjū,thefatherobeyshislord’scommand,eventhoughitmeanskillinghis

ownson.Incontrast,thesamuraifatherin

Sekidosurrenderstotheenemyinorderto

savehisson’slife.Thus,intheformer,the

fatherchoosesgiri,whereasinthelatter,he

takestheoppositecourse,choosingninjō. Because every one of usmust

be someparents’child, andmanyofus

become somechild’s fatherormother,

readingaboutotherchildren, fathers,and

mothers fromthepastand inadifferent

cultureisinterestingandpotentiallyinspir-

ing.Itmayprovidegoodmodelstofollow,

orevenofferhintstohelpsolveproblems

withinone’sownfamily.Modernfilmsthat

take family lifeas topicsalwaysseemto

attractagoodaudience.Synopsesof the

279Nohplaysstudiedinthisresearcharein

thismannervaluable.Wearenotsurprised

to readabout vicious stepmotherswho

makeplans to take the stepson’s life in

suchplaysasKatana (no shou),Meimeichō,butatthesametimeweareimpressedby

thestepmotherinShōgiseishuwhoasksthe

executionertotakethelifeofherownson

soastosaveherstepson.6Heractionfinally

bringsaboutpardontobothsons.

Onefinalconclusionwemaydraw

fromthis research is that ithasshownat

least the following threepoints that re-

mainedconsistent throughout the span

ofapproximately600years fromtheMur-

omachiperiod.First, thestronglypositive

imageof the child andmother remains

unchanged. Second, father-son relations

arefeaturedmostoften.Finally,thefamily

membermostoftenportrayed is theson,

followedby the father, and themother.

Daughtersappear leastoften.Thesethree

featuresseemto reflectJapanesesociety

ofthepastandhelpunderstandtheforma-

tionofmodernsociety.

6 Wemayberemindedofthestepmotherandbiologicalmotherinthemodernfilm“Stepmom”byChrisColumbus(starringJuliaRoberts),inwhichtheymoveustodeeplyappreciatemotherlyloveanddedication.



Play title

Fathers’ imagesin 48 plays

Mothers’ imagesin 33 plays

Children Imagesin 84 plays

34positive images

21minusimages

32positive images

1minus image

77positive images

12minusimages

Akutagawamonogurui /Asukagawa(kou) /Batourui /Biragata /Bugakushoujou /Chihironohama / /Chikurou /Chiyozuruhime /Chuujouhime / /Fuefukikawa / /Fuenomaki / / /Fumimonogurui / / /Funamodoshi /Futatabinowaranbe /Genzaidoujouji /Goetsu / /Gyoushun / /Hadakaoni /Hakozakimonogurui /Hanamaru /HanamiSoga /Harutoki / /Hatsusemonogurui /Hikonoyama /Hira / /Horo(kou) /Hotokezakura /Hyakumanben /IchiyaKagekiyo /Ikutamonogurui /IkutaTadanori /Imaizumi /Inabashoujou /Isozaki(kou)Isozaki(hei)

6. Appendix

Listofthe146playsofotherperiodsshowingimagesin134plays



Play title




34positive images

21minusimages

32positive images

1minus image

77positive images

12minusimages

Iwashiromonogurai /Iwatoshoujou /Izumoshoujou /Izumyoujin /Juuren(kou) / /Juuren(otsu) / /Kagamigaike /Kanao / /Kanazawashoujou /KanrataifuKaribaSoga /Karukaya /Kasasagi /Kasatorikyoujo /KatamiAtsumori / /KirikaneSogaKitanokazuraki / / /Kobiragata /Koshikibu / /Kosodegoi / / /Koubu孝婦 /Koubu厚婦 / /KouyaAtsumori /KowatamonoguruiKumazakishirou /Kurama’iri /Kuruijishi / / /Kusunotsuyu /Masegiku / / /Matsurahime /Meimeichou /Minatogawa (GenzaiKusunoki) /Misaki / /Miyajimonogurui /Morichika /Mousou /Myoujuukihan /Nadachi / /



Play title




34positive images

21minusimages

32positive images

1minus image

77positive images

12minusimages

Nakayamamonogurui /Nanakusa /Nao’ie / /Naritsune /NarumidoushinNinkei /OkkakeSuzuki /Omoidegawa / /Onoenomae /Orihime /Reishoujo /Rokkakudou(otsu) /Rouben /RuisenkouSadaderaSahogawa /Sahogawakyoujo / /Saijaku /Sakurai /Sakurainoeki / /SakuramakiSanjatakusenSanninkou(kou) /Sanninkou(otsu) /Sarashinamonogurui /Sasayakinohashi / /Sassatsushoujou /SatomeguriSayoginuta /Sekido /Senjo /Serata /Shichininshoujou /ShigureKomachi /Shimameguri(otsu) /ShinobuzuriShiohimonogurui /Shiratakinomae /Shishido / /



Play title




34positive images

21minusimages

32positive images

1minus image

77positive images

12minusimages

Shitsukenohashi /Shoujoumae /Shoukyuu / / /Shutokushoujou /Sorawarabe /Sotonohamanenbutsu /Suhounonaiji /Sumiregusa /Sumiyoshigama /Sumiyoshinoonna /Susonozuka /Suzukimonogurui /TaimenSoga /Taketoshi / / /Tamahori /Tamatori / /Tamazakishoujou /Tametomo /Tangomonogurui /Taoyamesennin /Tateri /Tatsutamonogurui /Tokiwamondou /Toushinbou / /Tsukushimonogurui /Unohanamonogurui /Ushi /WadaSakamori / /Wakakusa /Wasuregusa /Wataraimonogurui /Yukibikuni /Yumitsugimonogurui / / / /Yoroi /

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