Some of the most celebrated of these semi-metrical dramas, the Nō, have been skilfully translated into English of purity and grace. But the learned sinologues, their translators, by substituting the smoothly moving, majestic Iambic metre for the short, crisp pulsations of the Japanese line, and by obeying exigencies of rhyme whereas the original demands rhythm only, have obtained elegance at the partial expense of fidelity. An example less elaborated is given here:
THE ATAKA NŌ
WRITTEN BY KWANZE NOBUMITSU
circ. 1485
Translator's Note.—One of the saddest episodes of Japanese history is the fate of the brilliant and chivalrous general, Yoshitsune. Yoritomo, the Minamoto Chieftain, when (1185) he raised the white flag of his clan against the rival house of Taira, and succeeded in overwhelming his enemies and establishing a military government in Kamakura, owed his successes in the field mainly to the military genius of his younger brother, Yoshitsune. But Yoritomo's jealous temperament becoming inflamed against his brother, he readily listened to slanderous charges against Yoshitsune's loyalty, and having failed to compass the latter's death secretly, issued orders for his arrest. Yoshitsune, beloved by all that had served under him, favoured by the Imperial Court in Kyōtō, and capable of raising an army which his strategic genius must have rendered formidable if not invincible, would have obeyed the precedents of his era had he drawn the sword against his brother. But his noble nature forbade such a course. Taking with him only eleven men, who had followed his fortunes with unswerving fidelity and were without exception soldiers of proved prowess, he disguised him-
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