Noh translations: noh plays in alphabetical order of the Japanese titles

        All 253 plays in the repertoire of the five schools have been included, together with some plays that are no longer performed (bangai yōkyoku), some newer compositions, and other plays of interest.
        This page began as a guide to translations, but now encompasses other matters (e-texts, authorship, status of plays in the repertory of schools). With these additions and the bibliographies at the end, it has become rather long. For a simpler checklist of translations, see noh-aiueo.
        Each entry begins with a title in romanization and in Japanese characters. Titles of currently performed plays are given in bold. Japanese words are now romanized here with the macron (ō, ū). This takes the place of the circumflex (ô, û) used in romanization used in some older editions and on the Continent. To give you a better chance of reaching this page through internet searches, or hunting for words within it, several options have been given for many titles, including romaniation without accents. See note below for more about titles.
     The number in parentheses after the play title refers to the play type: (1) "god plays"; (2) "warrior plays"; (3) "woman plays"; (4) fourth-category plays; and (5) fifth-category plays."
     Under (E) you will find English-language translations listed in order of publication. Translations in French, German, and other European languages are prefaced by the Euro sign (€). If a title has been translated, by the translator or in secondary literature, that information is also given.
     Under (J), citations of print editions are being added slowly, but most entries now have a link to a full Japanese electronic text. Though based on a 1928 edition, these are handy for searches and reference--not least in giving quick access to information about the identity of the waki, shite, etc. After clicking links, you may have to change the browser encoding manually to "Japanese (EUC)."
    Under (S), some related secondary literature in English has been listed. (Just a start...)
    Under (A) you will find the name of the presumed author. The primary source for attributions is a guide to noh plays compiled by Nishino Haruo (Nishino 1999, 10-163, 438-443). Entries also indicate which of the five "schools" (ryū) include the play in their current performance repertoire. Parenthetical notations like "(Hōshō)" indicate that the play was once in the repertory of a particular school, but is no longer so. To distinguish these borderline plays, the romanized titles have been italicized. The five schools are given in their conventional order: Kanze 観世, Hōshō 宝生, Komparu 金春, Kongō 金剛, Kita 喜多. Plays that are not in the modern repertory are indicated as "[bangai]" (for bangai yōkyoku 番外謡曲.
    See Western and Japanese bibliography below for full references of books, journals, information about JSTOR links for journal publications, and the notes for other matters.
    This bibliography focusses on nō plays themselves, but anyone interested in learning more about nō drama will also want to look at the early writings by Zeami, Zenchiku, and others about theoretical and practical issues of performances. A fairly comprehensive bibliography for Zeami's writings is given on the premodern Japanese texts and translation page: Zeami jūroku bushū 世阿弥十六部集. For Zenchiku, see Rokurin ichiro no ki 六輪一露之記.
    The editor is grateful for any corrections and additions. Annotations in red ("check," etc.) indicate some of the items for which further information is needed. Contact information follows below. 

-- Michael Watson <watson[at]k.meijigakuin.ac.jp>
 Latest revision: 2013.04.27

Recent update: New links to four complete translations by Kenneth Leo Richard (1940–2011). Ken Richard maintained a site that included an online project "Pretty Boys in the Noh" with translations of Kagetsu, Kanehira, Matsumushi, and Yoroboshi. With his death, the site disappeared but it proved possible to recover the translations from the Internet Archive Wayback Machine. Details below.



Notes on the entries above

Japanese titles

        Nishino and Hata 1999 (Nō kyōgen jiten) has been followed in deciding the main heading for plays. Alternative names are given, however, together with cross-references for substantially different names. Standard modern practice is followed in word division and hyphenization of titles. Possible variants have been offered in some cases where it was feared that those doing web searches might not hit on the form used here. (As explained below, this is true of romanized words with long vowels.) Versions with alternative kanji are given, particularly in cases when editors continue to prefer the older forms (e.g. 龍 for 竜, or 曾 for 曽).
       The system for romanization of titles has changed since the first English translations in the Meiji period. This list follows what I believe are the emerging conventions. It is perhaps useful to set out exactly what these conventions might be. Modern practice is to avoid hyphenation in titles, combining into a single "word" when the two elements form a sense unit (Ashikari, Ikarikazuki, Kinsatsu, MatsukazeOimatsu) or make up the names of places or temples (Arashiyama, Dōjōji, Hōjōgawa, KashiwazakiKannyokyū, Sakuragawa, Miidera, Rashōmon). Two elements clearly belong together if the second is voiced (Hōka, Kurozuka, Momijigari,  Motomezuka, Nishikigi, Saigyōzakura, Tsuchigumo).
        Hyphenation is used when combining would result in two vowels (Eboshi-ori, Hana-ikusa, Hitachi-obi) or when the resulting word would be difficult to parse (Minazuki-barae, Torioi-bune, arguably also Saigyō-zakura and Sumizome-zakura).
        It is conventional to write titles as two words when one element is a proper name (Funa Benkei, Kosode SogaYoshino Shizuka, Kamo monogurui, Kasuga ryūjin, Kuruma tengu, Nara mōde, Ohara gokō). . In these cases I prefer to capitalize the second element only if it is a proper noun. Titles with the pattern "Genzai ~" or "~ monogurui" are written as two words. Note also Genzei shichimen, Genzai nue, but Genzai Tomoe: two elements, but with capitalization only when the second element is a personal name. Note also Giō (proper noun) but taiko (like Fujidaiko).
        The following titles are also conventially written as two words: Ikkaku sennin, Jinen koji, Makura jidō, Shichiki ochi. The following are conventionally written as one: Tsurukame.
        Elements are written out when the particle no combines words (Aya no Tsuzumi, Aoi no ue, Hachi no ki). However, there is a tendency to write some expressions as one: Unoha, Tamanoi "Jewel-Well." I have combined in the case where ga joins elements (Adachigahara), but have also given the form written Adachi ga hara. Problematic cases: Hana ikusa, Hakurakuten (Haku Rakuten), Taisanpukun. [Return to top.]

Format of entries
        Square brackets indicate partial translation or summary. Items bracketed thus {} were not available for me when compiling this list and need re-checking. Notes in red or in CAPITALS are likewise points to clarify.
        If a title is translated, that information is included in parentheses. Other translations of titles that appear in secondary works are being added. I'd be grateful to hear of more.
       In the translations listed under (€), the language of translations is specified only when this is not obvious. When a version of this check-list was originally put online in the early 1990s, macrons and French/German diacritical accents could not be used on a page containing kanji. On revising the page in July 2004, Unicode has been adopted, allowing for the use of European diacritics and the circumflex (ôû).  From February 2009, the macron has been included too. In order to ensure that you will continue to find plays titles including a long vowel, such titles have been listed in the following manner: Aridōshi (Aridoshi).
        Note also that romanization of clusters like Genpuku and Yamanba uses the style with -n- rather than -m-. (An exception is made for the name of the Komparu school.) 
        For a compact guide to dating and grounds for attribution, see Takemoto 1995, 53-120. Note that 観阿弥 has been written Kan'ami (Kannami is also correct, while Kwannami is seen in older scholarship). Some names of minor authors need to be checked. [Return to top.]

Coverage
        The information about existing translations covers most collections of noh plays in English (see bibliography), and in some Western European languages. References to translations published in journals have been added, together with JSTOR links, but some may well have been missed. Suggestions and corrections are very much appreciated <watson[at]k.meijigakuin.ac.jp>.
Links to the UTAHI site of electronic texts have been added. [Details]. References are being added to printed sources for texts. As plays in the standard repertoire are relatively easy to find, it seems more useful to concentrate on [bangai] , giving volume page references to Haga and Sakaki, Kōchū Yōkyoku sōsho (1914-15), abbreviated KYS above, or a more recent edition, where it exists. For information about Japanese editions of noh plays see Japanese bibliography below or my short list (PDF). [Return to top.]
English-language bibliography (see below for: bibliography in other Western languages, and  Japanese-language bibliography) *still deciding whether to divide or not...

        Standard abbreviations have been used for the following journals.
        BEFEO = Bulletin de l'École Française d'Extrême-Orient
        HJAS = Harvard Journal of Asiatic Studies [at JSTOR]
        MN = Monumenta Nipponica [url][at JSTOR]
        TASJ = Transactions of the Asiatic Society of Japan

       
Individual JSTOR links are given for those who have access through a subscribing institution.             The links are to electronic files in pdf format that can be read on screen or downloaded.

Major translations and studies
Note that this checklist does not attempt to cover early translations fully. For more references, see
(1) Roy E. Teele, "Translations of Noh Plays," Comparative Literature Vol. 9, No. 4 (Autumn, 1957), pp. 345-368 [available online for subscribers of JSTOR];
(2) Nishino Haruo's list of translations in Nogami Toyoichirō, ed., Nōgaku zensho (Tokyo Sōgensha, 1980), 3:328-316;
(3) Françine Hérail, Bibliographie japonaise (Paris: P.O.F., 1981), pp. 83-91.

The following information is given in square brackets following each item: the number of noh plays translated, list of titles included, given in alphabetical order and in standard modern romanization. Some references to book reviews are also given. [Return to top.]


Arnold and Fukui 1957
Paul Arnold and Yoshio Fukui. Neuf nō japonaise. [Paris:] Libraire théatrale, 1957. 165 p.
[Nine plays: Aya no tsutsumi ("Le Tambour de soie"), Dōjōji, Kantan ("L'oreiller de Kantan"), Hanagatami, Semimaru, ShunkanTsuchikumo ("L'Arraigné de Terre"), Tsunemasa, Yuya.]
Part 1 contains the nine plays in free "adaptations" by Arnold, while Part 2 contains fairly literal translations ('traductions") of the same nine plays by Arnold and Yoshio Fukui 福井芳男. See comments in Nishino 2003, 188, who refers to the free adaptations as hon'an 翻 案. Here are scans of the cover and table of contents from a copy purchased through abebooks.com [PDF].

Aston 1899
W. G. Aston. A History of Japanese Literature. London: Heinemann: London, 1899. [Noh is discussed in Book the Fourth, Chapter III "Poetry--The Nō or Lyrical Drama--Kiōgen or Farce" (pp. 199-214), with an abridged translation of Takasago (206-212). Summaries are given of the plays Tōsen and Dōjōji (212-213).]

Bethe and Brazell 1978
Monica Bethe and Karen Brazell. Nō as performance: an analysis of the Kuse scene of Yamamba. Cornell University East Asia Papers, no. 16. Cornell, 1978.

Bethe and Brazell 1982
Monica Bethe and Karen Brazell. Dance in the Nō theater. Volume one: dance analysis. Volume two: plays and scores. Cornell University East Asia Papers, no. 29. Cornell, 1978.
[Check no. of two vols., excerpts translated.]

Bethe and Emmert [1992-97] 
Monica Bethe and Richard Emmert, trans. and ed., Noh Performance Guides. Tokyo: National Noh Theatre, 1992-1997. (1) Matsukaze with a translation and afterword by Royall Tyler, 1992; (2) Fujito with a translation and afterword by Royall Tyler, 1992; (3) Miidera, 1993; (4) Tenko, 1994; (5) Atsumori, with Karen Brazell, 1995; [6) Ema, 1996; (7) Aoinoue, 1997.
REV Asian Theatre Journal 16.1 (Frank Hoff).

Borgen 2007
Robert Borgen, "A History of Dōmyōji to 1572 (or Maybe 1575): An Attempted Reconstruction," Monumenta Nipponica 62.1 (Spring 2007), 1-74. [Study and complete translation.] [Project MUSE]

Brazell 1988
Karen Brazell, ed. Twelve Plays of the Noh and Kyōgen Theaters. Cornell University East Asia Papers No. 50. Ithaca, 1988. [9 plays: Genji kuyō ("A Memorial Service for Genji") tr. Janet Goff, Ikarikazuki ("The Anchor Draping") tr. J. Philip Gabriel, Kakitsubata ("The Iris") tr. Susan Blakeley Klein, Miwa ("Three Circles") tr. Monica Bethe, ūeyama ("The Demon of Oeyama") tr. H. Mack Horton, Saigyōzakura ("Saigyō and the Cherry Tree") tr. Eileen Kato, Unoha ("Cormorant Plumes") tr. Jeanne Paik Kaufman, Unrin'in (The Unrin Temple) tr. Earl Jackson, Yoshino Shizuka ("Lady Shizuka in Yoshino") tr. Etsuko Terasaki.]
 
Brazell 1998
Karen Brazell. Traditional Japanese Theater: An Anthology of Plays. New York: Columbia UP, 1998. [7 plays: Atsumori tr. Karen Brazell, Dōjōji tr. Donald Keene, Izutsu tr. Karen Brazell, Kamo tr. Monica Bethe, Miidera tr. Eileen Kato, Shunkan tr. Eileen Kato, Yamamba tr. Monica Bethe and Karen Brazell.]

Brinkley 1901
Frank Brinkley. Japan, Its History, Arts, and Literature. Boston and Tokyo: J. B. Millet, 1901. [Ataka, translated in vol. III, 35-48. Brinkley translates the term as "accomplishment." This was the source for Pound's use of the term.]

Brown 2001
Steven T. Brown. Theatricalities of Power: The Cultural Politics of Noh. Stanford: Stanford University Press, 2001. 209 pages. [Study including translations of three plays: Akechi uchi, Aoi no ue, Ominameshi.] REV MN 59:1 (Spring 2004), 138-140 (Noel John Pinnington).

Cionca 1982
Stanca Cionca. Teatru Nō. Bucurest: University Bucuresti, 1982. [20 plays translated into Rumanian.] Ref: Nishino 2003, 201. [Other works by Stanca Scholz-Cionca are listed on Webcat, but not this translation.  [To check. Copy at Hōsei.]

Chamberlain 1880
Basil Hall Chamberlain. The Classical Poetry of the Japanese. London: Trübner & Co., 1880. Also: Boston: J. R. Osgood, 1880. [4 plays: Hagoromo ("The Robe of Feathers"), Sesshōseki ("The Death-Stone"), Kantan ("Life is a Dream"), Nakamitsu.] Translations should be compared with those in next two entries. The section on Nō ("Selections from the Nou-No-Utai") is from pp. 137-185. Reprinted with additions and deletions in Chamberlain, Japanese Poetry (1910), see below. The original 1880 edition is not included in Collected works of Basil Hall Chamberlain (Tokyo: Ganesha, 2000), but a facsimile was published by Routledge in 2000. A Japanese translation by Kawamura Hatsue was published in 1987 (川村ハツエ訳『日本人の古典詩歌』東京 : 七月堂). 
    The first published translations of noh, using prose for the chanted portions, and rhymed verse for the sung portions. "The prose portions are rendered literally, the lyrical passages perforce very freely" as the translator later admitted (Chamberlain 1902: 462). Similar criticisms were made by Brinkley, Stopes (1913: 32), Waley ("rhymed paraphrases" - 1921: 256), and Florenz (the prose portions are successful, but the rhythmnical portions leave much to be desired - MN 1 [1938], 4).

Chamberlain 1902
Chamberlain, Basil Hall. Things Japanese: being notes on various subjects connected with Japan for the use of travellers and others. 4th, revised edition. London: John Murray, 1902. Also issued by Kelly  & Walsh, Limited, of "Yokohama, Shanghai, Hongkong, and Singapore." This fourth edition is cited here rather than the first edition (London: K. Paul, Trench, Trübner, 1890) as it was the first to include "The Robe of Feathers (Ha-goromo)" in the entry for "Theatre" (pp. 456-469, with the introduction and translation of play from p. 462). Chamberlain comments on how he "ventures to disinter" the translation of Hagoromo from Classical Poetry of the Japanese (1880) "long since out of print." 
        I have compared the entry for "Theatre" in all six editions, which appeared in 1890, 1891, 1898, 1902, 1905, and 1939 (the last including revisions made by Chamberlain before his death in 1935). The items listed in the bibliography of translations change over the editions. The fifth edition (1905) was reprinted by Tuttle in 1971 as Japanese Things (see pp. 468-474 for "The Robe of Feathers"). It is also available with other related material (including an early French translation) in Collected works of Basil Hall Chamberlain (Tokyo: Ganesha, 2000).
   Several Japanese publications are useful for the the study of Chamberlain's guide: the Japanese translation by Takanashi Kenkichi as Nihon jibusshi 日本 事物誌 (two vols., Heibonsha, 1969), and the reprint of the sixth edition of 1939 with extensive backmatter by Takanashi Kenkichi and Kusuya Shigetoshi, ed. Kanzan-ban "Nihon jibusshi" (Meicho Fukyu Kai, 1985). The latter includes a useful chart of the appearance and disappearance of entries over the course of the six editions, a reflection of the great changes in Japan.

Chamberlain 1910
Chamberlain, Basil Hall. Japanese Poetry. London: John Murray, 1910. Revised from Chamberlain 1880. [Part III "Selections for the Nō-no-utai; or 'Lyric Drama." Three plays are included: Sesshōseki as "The Death-Stone" (pp. 109-118), Kantan as "Life is a Dream" (119-128), Nakamitsu (pp. 129-144).  The original 1880 edition also contained an abridged version of Hagoromo. This was removed from the 1910 revision, presumably because Hagoromo was included in the "Theatre" entry of Things Japanese from the fourth edition (see Chamberlain 1902). 

Clements 1920
Colin Campbell Clements, "Seven plays of old Japan," Poet Lore, XXXI, 2 (1920): 152-209.
        * Not original translations. The six noh plays and one kyōgen play are "taken without acknowledgement or thanks from various earlier versions" (Teele 1957: 346, ftn. 6). For the record, the sources are as follows: "The Cherry-Blossom River" (Sakuragawa) is taken from Sansom 1911; "By the Sumida River" (Sumidagawa) from Stopes and Sakurai 1913; "Growing Old Together" (Takasago) from Aston 1899; "The Star Dust Path" (Hagoromo) from Chamberlain 1880 or its reprint (Things Japanese from fourth edition, 1902) ; "The Father" (Manjū / Nakamitsu) from Chamberlain 1880 or Chamberlain 1910; "A Man and his Wife" is a version of the kyōgen play Hanako 花子, probably from Chamberlain, Literature of the Orient (London: Colonial Press, 1902), 283-296; and "Life is a Dream" (Kantan) from Chamberlain 1880 or Chamberlain 1910.
        Clements was born 1894 in Nebraska, studied in the University of Washington, and became a prolific playwright and screen-writer. Married to popular writer Florence Ryerson, he died in 1948. The same issue of Poet Lore ("A Magazine of Letters") contains some other works written or adapted by Clements, as well as a profile (pp. 576-578). The same journal later published free versions of noh by Yone Noguchi.

Deliusina 1979
Yokyoku: klassicheskaya yaponskaya drama. Moscow: Nauka, 1979. 344 p. [17 plays translated into Russian by Tatiana Deliusina: Takasago, Hagoromo, Tamura, Atsumori, Kiyotsune, Nonomiya, Izutsu, Eguchi, Bashō, Sotoba Komachi, Aya no Tsutsumi, Sumidagawa, Utō, Aoi no ue, Motomezuka, Dōjōji, Funa Benkei.] Information from Nishino 2003, 201, where the authors are given as H. Anarina and T. Deliusina.  {CHECK} [Webcat entry gives Cyrillic. According to the entry the co-author is Tatiana Petrovna Grigoreva, not N. (Nina) Anarina, who published a study of noh in 1984 and a translation of Fushi kaken in 1989.]

de Poorter 1978
Erika de Poorter. De Kraanvogel en de schildpad: vijf Nō en vier Kyōgen. Amsterdam: Meulenhoff, 1978. 178 p. [Webcat]  [5 noh plays: Hanjo, Izutsu, Tamura, Tsuchigumo, Tsurukame.] Also includes four kyōgen plays and an English translation of the critical work Sarugaku dangi. The latter was recently republished in Zeami's Talks on Sarugaku: An Annotated Translation of Sarugaku Dangi (Amsterdam: Hotei Publishing, 2002). Ref: Nishino 2003, 200.

de Poorter 2001
Erika de Poorter. Nō: het klassieke theater van Japan Amsterdam: Amsterdam University Press, 2001. 88 p. [Webcat] [Contains translations into Dutch of noh play Sumidagawa and kyōgen Busu.]

Dickins 1906

Frederick Victor Dickins. Primitive & Mediaeval Japanese Texts. 2 vols. Oxford, 1906. [The volume of romanized texts contains: "Nō no utahi Takasago," the full text in romanized transliteration with notes, pp. 246-255. Expressions from Takasago are included in the glossary. The translation is in the accompanying volume "The Nō, or Mime, of Takasago or Ahiohi" pp. 399-412 (introduction from p.
391). The alternative title Ahiohi (i.e. Aioi) is 相老, "grow old together" as Dickins explains. The Japanese text used by Dickins was Yōkyoku Tsūge 謡曲通解 ed. by Owada Tateki 大和田建樹 (Hakubunkan 1892). This same collection--"Medieval Dramatic Poems, with notes" (as Dickins translates the title)--was used by Aston.]

Fenollosa 1901
Ernest Fenollosa. "Notes on the Japanese Lyric Drama." Journal of the American Oriental Society, XXIII (1901), pp. 129-137 [JSTOR link. Teele (1957: 329) points out that lines quoted from translation of Kinuta differ from version published in Fenollosa/Pound 1916b.]

Fenollosa/Pound 1916ba
Ernest Fenollosa and Ezra Pound. Certain Noble Plays of Japan: From the Manuscripts of Ernest Fenellosa, Chosen and Finished by Ezra Pound, with an Introduction by William Butler Yeats Churchtown, Dundrum [Ireland]: The Cuala Press, 1916. xix, 48 p. [4 plays: Nishikigi, Hagoromo, Kumasaka, Kagekiyo]. Only 350 copies were printed of Certain Plays. I have examined the British Library copy. There are also reprint editions (Shannon: Irish University Press, 1971; Whitefish, Montana: Kessinger Publishing, 2004). For second-hand copies of the original, see Abebooks (search)--some listings include photographs.
    
 Important study of this text and the next: A Guide to Ezra Pound and Ernest Fenollosa's Classic Noh Theatre of Japan, ed. Akiko Miyake, Sanehide Kodama and Nicholas Teele (Oronto, Maine: The National Poetry Foundation, University of Maine, 1994). Includes annotatations on all plays, Fenollosa's manuscripts or Pound's typescripts, notes by Mary Fenollosa, and the transcriptions of ten unfinished translations: Adachi ga Hara, Ashikari, Hajitomi, Ikuta Atsumori, Kanehira, Matsukaze, Semimaru, Senju, Yoro, Youchi Soga.

Fenollosa/Pound 1916b
Ernest Fenollosa and Ezra Pound. 'NOH' Or Accomplishment: A Study of the Classical Stage of Japan. London: Macmillan, 1916. [15 plays translated, abridged to various degrees. Titles are as follows (long vowels not marked in original): Awoi No Uye [Aoi no ue], Chorio [Chōryō], Genjō,  Hagoromo, Kagekiyo, Kakitsubata, Kayoi Komachi, Kinuta, Kumasaka, Nishiki, Shōjō, Suma GenjiTamura, Tsunemasa. In addition "Fenollosa on the Noh" Section IV quotes extensively from Ikuta Atsumori. Synopses of plots given in appendix: Shunkwan [Shunkan], Koi no Omoni ("The Burden of Love"), Kanawa ("The Iron Ring"), Matsukaze.]
*
Note: 'NOH' OR Accomplishment...  is the original title, seen in photographs of the book cover provided by rare booksellers. [abebooks search]. Originally there was no comma after NOH. In the New Directions Paperbook (1959), Dover, and perhaps other editions, the title is given as The Classic Noh Theatre of Japan, but the Pelican Publishing Company edition (1999) reverts to the original title, and uses the original frontispiece photograph of Umewaka Minoru 梅若実 (1828-1909) on the cover. The work also includes Pound's general introduction and notes on the plays and the introduction by Yeats originally written for Fenollosa/Pound 1916ba. The term "accomplishment" as a translation of 能 may be based on Brinkley.

Fulchignoni 1942
Enrico Fulchignoni. Teatro giapponese. Sette Nō. Roma: Edizioni Teatro dell’Università di Roma, 1942. [7 plays translated: La Principessa Malvarosa (Aoi-No-Ue); La Dama della Montagna (Yama-uba [Yamanba]); La visita a Ohara ([Ohara gokō]); La vecchia poetessa (Sotoba Komachi); Il sogno (Kantan); Il cavaliere miseria ([Hachi no ki?]; La donna di Eguchi [Eguchi]]. To check.

Florenz 1905
Karl Florenz. Geschichte der japanischen Litteratur. Litteraturen des Ostens in Einzeldarstellungen, vol. 10. Leipzig: C.F.Amelangs Verlag, 1905. [I have checked the second edition, 1909. Pagination needs to be confirmed against first edition.] [Section on nō: 370-406. Translations: Asagao (3 lines tr. 386), Takasago (first half only, 391-4), Funa Benkei (complete, 395-401), and Ataka (summary and excerpt, 401-404). There are summaries also of Mochizuki and Hanjo.]

Gerdorff 1926
Wolgang von Gersdorff. Japanische Dramen für die deutsche Bühne. Jena: Eugen Diedrichs, 1926. [No-Spiele: 1. Die alte Kiefer = "Oimatsu"/ von Seami Motokiyo ; 2. Der Spiegel kindlicher Treue = "Matsuyama kagami";  3. Leben und Traum = "Kantan" (from Webcat/contents). Teele 1957. Not seen, to check. Other editions: Webcat.]

Godel and Kano 1994
Armen Godel and Koichi Kano. La Lande des Mortifications: Vingt-cinq pièces de nō. Paris: Gallimard. 1994. 631 p. [25 plays translated with introductions and annotations: Aoi no ue (“La Dame Aoi”), Atsumori, Fujito (“La porte des glycines”), Funabashi (“Le Port Flottant”), Hanjo, Higaki (“La haie de cyprès”), Ikeniye (“La Mare au Sacrifice” ou “Sacrifices vivants”), Kagekiyo, Kamo, Kanawa (“La couronne de fer”), Kinuta (“Le battoir”), Koi no omoni (“Le Fardeau de l’Amour”), Kumasaka, Kurumazō (“Le Moine au Char”), Matsukaze, Motomezuka (“La Tombe des Désires”), Nishigi (“L’arbre aux brocarts”), Obasute (“La vieille abandonnée”), Sanemori, Sumidagawa (“La rivière Sumida”), Take no yuki (“Neige sur bambous”), Tanikō (“L’Épreuve de la Vallée”), Teika, Utaura (“Le poème divinatoire”), Yoroboshi(“Le frêle moine”).] Introductions are short, usually less than two pages in length, but the translations are well annotated with footnotes. The Swiss scholar Armen Godel earlier published a study of Zeami [Le maître de nô (Albin Michel, 1989), reprinted 2004, Japanese translation 1997 (能楽師).]. The co-author of the anthology is Kano Kōichi 狩野晃一. [Nishino 2003, 189-90.]

Goff 1991
Janet  Goff. Noh drama and The Tale of Genji. Princeton UP, 1991. [15 plays: Aoi no ue, Darani Ochiba, Genji kuyō, Go, Hajitomi, Kodama Ukifune, Nonomiya, Ochiba, Shikimi tengu, Suma Genji, Sumiyoshi mōde, Tamakazura, Ukifune, Utsusemi, Yūgao]. See also: Janet Goff, "The Tale of Genji as a Source of The Nō: Yūgao and Hajitomi," HJAS 42.1. (June, 1982), pp. 177-229. JSTOR.

Grosso 1931
P. Grosso. Nō e kyōghen. Drammi mistici e farse del Giappone classico. Carabba, Lanciano, 1931. [Not seen. Not on Webcat. Can anyone tell me what plays are included?].

Gundert 1925
Wilhelm Gundert. Der Schintoismus im Japanischen Nō-Drama. Mitteilungen der deutschen Gesellschaft für Natur- und Völkerkunde Ostasiens, vol. 19. Tokyo: Gesellschaft für Natur- und Völkerkunde Ostasiens, 1925. 275 p. [Discussion of 51 noh plays influenced by Shinto, with translated excerpts. Teele 1957:360 calculates that "[f]or practical purposes, ten may be considered as complete, though some lines have been omitted."]  Webcat. Gundert also published a translation of Bashō in the Jubiläumband der deutschen Gesellschaft für Natur- und Völkerkunde Ostasiens, 1933.

Hare 1986
Thomas Blenman Hare. Zeami's Style. The Noh Plays of Zeami Motokiyo. Stanford UP, 1986. [Includes translations of Takasago, Izutsu, Tadanori, and of passages from several other plays.]

Jones 1963
Stanleigh H. Jones. "The Nō Plays Obasute and Kanehira." MN 18: 1/4 (1963), 261-85. JSTOR.

JTI
Japanese Text Initiative. See below under Electronic texts.

Keene 1970
Donald Keene, ed. with the assistance of Royall Tyler, Twenty Plays of the Nō Theatre. New York: Columbia UP, 1970.  [20 plays: Ashikari (The Reed Cutter) tr. James A. O'Brien, Dōjōji tr. Donald Keene, Hanjo (Lady Han) tr. Royall Tyler, Kanawa (The Iron Crown) tr. Eileen Kato, Kanehira tr. Stanleigh H. Jones, Kayoi Komachi (Komachi and the Hundred Nights) tr. Eileen Kato, Matsukaze tr. Royall Tyler, Motomezuka ("The Sought-for Grave") tr. Barry Jackman, Nishigi (The Brocade Tree) tr. Calvin French, Nonomiya (The Shrine in the Fields) tr. H. Paul Varley, Obasute (The Deserted Crone) tr. Stanleigh H. Jones, Ohara gokō (The Imperial Visit to Ohara) tr. Carol Hochstedler, Seiōbō (The Queen Mother of the West) tr. Cesar Sesar, Sekidera Komachi (Komachi at Sekidera) tr. Karen Brazell, Semimaru tr. Susan Matisoff, Shōkun tr. Carl Sesar, Tanikō (The Valley Rite) tr. Royall Tyler, Torioi-bune (The Bird-scaring Boat) tr. Royall Tyler, Yōkihi tr. Cesar Sesar, Yūgyō Yanagi (The Priest and the Willow) tr. Janine Beichman.]
REV: Frank Hoff, MN 27 (1972).

Keene 1990
Donald Keene. Nō and Bunraku: two forms of Japanese theatre. New York: Columbia University Press, 1990. [The section on noh appeared first in (Tokyo: Kodansha International, 1966).] (The list of currently performed nō plays on pp. 97-102 includes information about the attributions of authorship of plays.]

Kokusai Bunka Shinkōkai 1937
Kokusai Bunka Shinkōkai (国際文化振興会), The Noh Drama. Tokyo: Kokusai Bunka Shinkōkai, 1937. [TO SEE. Includes translations of Aoi no ue and Hagoromo.] [Webcat - Japan Foundation.][According to Teele 1957, the translators responsible were Toshiro Shimanouchi and William Aker. See also Nishino 2003, 162. This is a bilingual program prepared for a performance led by Hōshō actors in August 1937 before representatives of 44 countries.

Kominz 1995
Laurence R. Kominz. Avatars of Vengeance: Japanese Drama and the Soga Literary Tradition. Ann Arbor, MI: Center for Japanese Studies, University of Michigan, 1995. xuuu + 277 pp. [Monograph series: page]  [Includes an appendix listing noh plays based on the story of the Soga brothers.]

Lombard 1928
F. A. Lombard. An Outline History of Japanese Drama. London: Allen and Unwin, 1928. [6 plays: Chikubushima, Eguchi, Himuro, Manjū, Ohara gokō, Okina. Earlier chapters contain translations from performance genres that influenced noh, including kagura, ennen, and dengaku. Later chapters include translations of kyōgen and works for the bunraku and kabuki stage.]

Magli 1964
Adriano Magli, ed. Lo spettacolo sacro nei testi arcaici e primitivi. Milano: Guanda, 1964. [Not seen. An anthology that contains translations of: Ukai ("Il pescatore col cormorano"), Minobu, Seiganji.] (Check whether actually translated directly from Japanese and not from French of Renondeau as choice of plays suggest.)

Minagawa 1934
Masayoshi Minagawa, Four Nō Plays. Tokyo: Sekibundo, 1934. [Four plays: Kumasaka ("Kumasaka the Robber"), Yamanba ("The Mountain Dame"), Kayoi Komachi ("The Wooing of Komachi"), Hachi no ki]. Rare: I have examined copy in Hōsei Noh Research institute.
* Minagawa Masaki 皆川正禧 was a disciple (monka) of Soseki's who later became professor of Hōsei University. [Hoshino 2003, 161.] The translations originally appeared in journals:  "Hachi no Ki," The Young East, I (1925); "Kayoi Komachi," Tourist, XX (1932); "Kumasaka," The Young East, II (1927), "Yamauba" (=Yamanba), The Young East, II (1926).  Details from Teele 1957 who comments that "Minagawa's translations deserve more attention than they have received."] The Young East: Webcat; libraries with reprint ed. include Meiji Gakuin, Webcat.

Miyake, Kodama and Teele 1994
Akiko Miyake, Sanehide Kodama and Nicholas Teele. A Guide to Ezra Pound and Ernest Fenollosa's classic Noh theatre of Japan. Orono, Maine, and Ohtsu City, Japan: The National Poetry Foundation, University of Maine, and The Ezra Pound Society of Japan, Shiga University, 1994. [Contains transcriptions of ten unfinished translations: Adachi ga Hara, Ashikari, Hajitomi, Ikuta Atsumori, Kanehira, Matsukaze, Semimaru, Senju, Yoro, Youchi Soga. (Note that other translations by Fenollosa have since emerged, either in Fenollosa's own hand or in Pound's typed transcription.) See Fenollosa/Pound 1916ba for other contents.]

Müller 1896
 F. W. K. Müller, "Ikkaku sennin, eine mittelalterliche japanische Oper," in Adolf Bastian als Festgruss zu seinem 70. Geburtstage 20 Juni 1896 gewidmet von seinen Freuden und Verehrern (Berlin: Dietrich Reimer, 1896), 515-537.
        Translation of Ikkaku sennin with a study of unicorn legends. The first German translation of a noh play. I have examined the British Library copy. It is also available at the Nichibunken in a privately assembled collection of early journal publications on noh, including Kenzō Wadagaki's English translation of the same play (Hansei Zasshi 13 [Jan. 1898], 14-24), Müller's study of noh masks ("Einiges über Nō-Masken," T'oung Pao VIII, 1897), and an essay on the unicorn by Takakusu Junjirō ("The Story of the Rsi Ekasrnga (独角仙人)," Hansei Zasshi, vol. 13, January, 1898). See: Webcat and Nichibunken (two photographic reproductions).
       Friedrich Wilhelm Karl Müller, (1863-1930) did pioneering work on Central Asian languages and cultures of Sogdia [ソグド] and Turfan 吐魯番, publishing studies on many aspects of other early Asian cultures. From 1906 to 1928, Müller was in charge of the East Asian section of the Ethnological Museum in Berlin (Museum für Völkerkunde).

Nakamura and de Cecatty 1982
Nakamura, Ryōji, and René de Cecatty, Mille ans de littérature japonaise: une anthologie du VIIIe au XVIIIe siècle. Paris: aux éditions de la différence, 1982. [Izutsu, trans. as "la magelle du puits"]

NGS I
Nippon Gakujutsu Shinkōkai. Japanese Noh Drama: Ten Plays Selected and Translated from the Japanese. [Vol. I.] Tokyo: Nippon Gakujutsu Shinkōkai, 1955. [10 plays: Bashō, Eguchi, Funa Benkei (Benkei in the Boat), Izutsu (Well-Curb), Kiyotsune, Sanemori, Sumidagawa (The Sumida River), Takasago, Tamura, Tōboku]
*Translated by a committee formed by the Nippon Gakujutsu Shinkōkai (日本学術振興会, "The Japan Society for the Promotion of Scientific Research"). See the preface in this volume and its two successors for more information on how draft translations were produced and then revised by committee. The Tuttle reprint is entitled: The Noh Drama: Ten Plays from the Japanese selected and translated by the special noh committee, Japanese classics translation committee, Nippon Gakujutsu Shinkōkai. Rutland, Vermont, and Tokyo, Japan: Charles E. Tuttle, 19??. [Check: my copy is third printing, 1965, but does not give date of first printing, only information concerning original 1955 edition.]

NGS II
Nippon Gakujutsu Shinkōkai. Japanese Noh Drama: Ten Plays Selected and Translated from the Japanese. Vol. II. Tokyo: Nippon Gakujutsu Shinkōkai, 1959. [10 plays: Aoi-no-ue [Aoi no ue] ("Lady Aoi"), Kagekiyo, Kantan, Momoji-gari [Momijigari] ("Autumn-Leaves Viewing"), Motome-zuka [Motomezuka] (Sought-for Tomb), Settai (Hospitality), Tadanori, Tamanoi ("Jewel-Well"), Yamamba [Yamanba] ("Mountain-Hag"), Yuya.]  *The translation of Aoi-no-ue appears in revised form in Shirane 2007: 927-936.

NGS III
Nippon Gakujutsu Shinkōkai.  Japanese Noh Drama: Ten Plays Selected and Translated from the Japanese. Vol. III. Tokyo: Nippon Gakujutsu Shinkōkai, 1960. [10 plays: Ama ("Woman-Diver"), Ataka, Hagoromo ("Feather Robe"), Kinuta ("Cloth-beating Block"), Matsukaze, Miidera, Shunkan, Sotoba Komachi ("Komachi on the Stupa"), Tomoe, Yoroboshi ("The Stumbling Boy").]

Noguchi
Yone Noguchi  (Noguchi Yonejiro 野口米次郎) (1875-1947) lived in the U.S. from 1893, returning to Japan in 1904, becoming a professor at Keio. His writings were acclaimed at the time, but have not aged well. Many of Noguchi's translations and other writings are available in: Yoshinobu Hakutani, ed. Selected English Writings of Yone Noguchi: An East-West Literary Assimilation, 2 vols. (London, 1990, 1992). All English works are being reprinted in a multi-volume edition by Shunsuke Kamei (Tokyo: Edition Synapse, 2007). For discussion of Noguchi's work and influence on Yeats, Pound, and others, see David Ewick's "The Margins" [link].
        Noguchi wrote about noh in publications in England, the United States, and Japan. His work on individual plays ranges widely: prose summaries, fairly free translations (some with additions), and works in the spirit of noh. His short essays on noh include "The Japanese Noh Play," Egoist 5 (1918): 99 (reprinted in Hakutani, 2:100-102).
        Still to see: his version of Yuya as "The Sorrow of Yuya," Poet Lore (1917).

Noguchi 1914
The Spirit of Japanese Poetry (London: John Murray, 1914) [118 pp., Webcat] includes a work in the spirit of noh: "The Morning-Glory (A Dramatic Fragment)" that bears little relation to the noh play Asagao apart from its title. This book also includes essay, "No: The Japanese Play of Silence," which quotes from Aston's Takasago and Chamberlain's Hagoromo without acknowledging either. Both pieces are reprinted in Hakutani, Selected English Writings of Yone Noguchi, 2:85-87, 79-88.

Noguchi 1916-1917
Publications in the monthly Yōkyokukai 謡曲界 in an "English column" separately paginated as "The Yōkyokukai." These include:
        Prose summaries / retellings Hagoromo in The Summer Cloud: Prose Poems (Tokyo: Shunyodo, 1906); Nakamitsu (or Manjū) in "Koju's Loyalty," 5:2 (Aug. 1916), 1-6; Semimaru as "The Blind Musician," Yōkyokukai 5:6 (Dec. 1916), 1-6; Takasago in "The Spirits of the Pinetrees," Yōkyokukai 6:1 (Jan. 1917), 1-3; Komachi uta arasaoi in "Literary Contest," Yōkyokukai 6:2 (Feb. 1917), 1-7; Ataka in "The Sadness of the Warriors," Yōkyokukai 6:3 (March 1917), 2-8, Hagoromo in "By Miho's Pine-clad Shore," Yōkyokukai 6:4 (April 1917), 1-4 [To check: whether identical to version in The Summer Cloud.].
       Free translation with additions: Yōhiki as "The Everlasting Sorrow," Yōkyokukai 6:5 (May 1917), 1-8, also published as "The Everlasting Sorrow: A Japanese Noh Play," Egoist 4 (1917), 141-42 (reprinted in Hakutani, 2:106-110). This follows the structure of the noh play, but is largely independent in wording,  drawing more on the play's ultimate source, the poem "The Song of Everlasting Sorrow" 長恨歌 by  Po Chü-i (Bo Ju-yi) 白居易, as Noguchi explains in his Japanese note (Yōkyokukai 6:5, p. 8).
        Translations: Sesshōseki as "The Perfect Jewel Maiden," Yōkyokukai 5:3 (Sept. 1916), 1-6 [later reprinted in Poet Lore, 29:3, 1917); Ukai as "The Cormorant-fisher," Yōkyokukai 5:4 (Oct. 1916), 1-5; Ikkaku sennin as "The Delusions of a Human Cup," Yōkyokukai 5:5 (Nov., 1916), 6-9; Midera as "The Moon Night Bell," Yōkyokukai 6:6 (July 1917), 1-7; Koi no omoni as "Love's Heavy Burden," Yōkyokukai 7:1 (Feb. 1917), 1-7; Utō as "The Tears of the Birds," Yōkyokukai 7:2 (Aug. 1917), 1-5
        Essays on aspects of noh drama: "An Appreciation," Yōkyokukai 5:1 (July 1916),1-8 (with Japanese, pp. 77-79, 能楽鑑賞論); "A Farther Appreciation," Yōkyokukai 5:2 (Aug. 1916), 6-8; "Manzaburo Umewaka," Yōkyokukai 5:5 (Nov. 1916), 1-5; 

Noguchi 1918
Yone Noguchi, "Three Translated Selections from the Noh Drama," Poet-Lore, XXIX (1918), 447-458, consisting of "The Mountain She-Devil" (Yamanba ["Yamauba"] 447ff), "The Tears of the Birds" (Utō, 451ff), and "The Shower: The Moon" (Ugetsu, pp. 455ff).  ["More poetic than Mrs. Suzuki's versions [=Suzuki 1932], Noguchi's tend, however, to omit difficult passages and to give the general meaning without the use of concrete specific detail." Teele 1957, 362n51.]. 

Ochi, Reiko. "Buddhism and poetic theory: an analysis of Zeami's Higaki and Takasago."  Ph.D. thesis, Cornell University, 1984. [Analysis using  Roman Jakobson's theory of signs.]

O'Neill 1954
O'Neill, P. G. "The Nō Plays Koi no Omoni and Yuya."  Monumenta Nipponica, Vol. 10, No. 1/2 (1954), 203–226 [JSTOR].

O'Neill 1958
P. G. O'Neill. Early Nō drama: its background, character and development 1300-1450. London: Lund Humphies, 1958. 223 p. [Includes translation of kuse from Hyakuman, and excerpts from the kusemai "Azuma kudari."]

Péri 1897
Noël Péri. "Hashi-Benkei ou Benkei au pont." Revue française du Japon, Troisième Série, Troisième Livraison (September, 1897). Three pieces are included: general remarks on nō and kyōgen ("Quelques Notes sur les Nō 能 et les Kyōgen 狂言," pp. 76-81), an introduction to the play ("Notice sur le Nō intitulé Hashi-Benkei 橋弁慶," 81-84), and a full translation ("Hashi-Benkei ou Benkei au pont (de Gojō à Kyōto," 84-89), including a full colour reproduction of a Japanese illustration of  Benkei and Yoshitsune.  This work, not included in the posthumously published collection (Péri 1944), is the first of many publications on noh by Noël Péri (1865-1922), who came to Japan as a Catholic priest. The editor of the journal was Michel Revon (1867-1947), later to publish a widely-read anthology of Japanese literature. 

Péri 1911-13
Noël Péri. "Cinq pièces de Nô: Interprétation (Notices et traductions avec transcriptions et notes." BEFEO [Bulletin de l'École Française d'Extrême-Orient] (Hanoi), XI, XII, XII. [Oimatsu (1911), Atsumori (1912), Sotoba-komachi (1913), Ohara go kō (1913), Aya no tsuzumi (1913).] Later published as Cinq Nô (Paris, 1921) and included in Le Nô (Tokyo, 1944). [5 plays]
        An earlier publication in the BEFEO was his introductory study:  "Études sur le drame lyrique japonais," BEFEO IX/2 (1909), 251-280, BEFEO IX/4 (1909), 707–738.  (Webcat)

Péri 1920
Noël Péri."Cinq pièces de Nô: nouvelle série d'interprétation, notices et traductions avec notes, sans transcriptions." BEFEO [Bulletin de l'École Française d'Extrême-Orient] (Hanoi),  XX (1920), 1-110. [5 plays: Miwa, Tamura, Eguchi, Kinuta, Matsuyama-Kagami.]

Péri, Réimpressions
All Péri's publications in BEFEO cited above—the introductory study and ten translations—are available in a handy reprint edition: Noël Péri, Le théâtre nō: Études sur le drame lyrique japonais. Recueil d'articles parus dans le Bulletin de L'École française d'Extrême-Orient entre 1909 et 1920. Préface de François Lachaud. Paris: École française d'Extrême-Orient, 2004. 402 p. (Réimpressions; 13). ISSN 1269-8326. ISBN: 2 855539 634-4.

Péri 1921
Noël Péri. Cinq Nô. Ed. C.E.Maitre. Paris: Edition Boosard, 1921. 260 p. [5 plays: Atsumori, Aya no tsuzumi ("Le Tambourin de damas") Oimatsu (["Le Vieux-Pin"]), Ohara gokō ("La visite impériale à Ohara"), Sotoba Komachi. ("Komachi au Stūpa")]. Originally published in Hanoi in BEFEO [Bulletin de l'École Française d'Extrême-Orient] as follows: Oimatsu (1911), Atsumori (1912), Sotoba-komachi (1913), Ohara ga kō (1913), Aya no tsuzumi (1913). 

Péri 1944
Noël Péri. Le Nô. Tokyo: Maison franco-japonaise, 1944. 498 p. [10 plays, consisting of the two series of five plays previously published: Oimatsu (["Le Vieux-Pin"]), AtsumoriSotoba Komachi. (Sotoba-Komachi; "Komachi au Stūpa"); Ohara gokō (Ohara Go Kō; "La visite impériale à Ohara"), Aya no tsuzumi ("Le Tambourin de damas"); Miwa, Tamura, Eguchi, Kinuta, Matsuyama kagami (Matsuyama-Kagami, "Le Miroir de Matsuyama").]
    A remarkable wartime publication edited by Sugiyama Naojiro. In addition to the annotated translations of nō, the volume also reprints Péri's study "Introduction à l'étude sur le Nô" (1-73) and his translations of eleven kyōgen plays (orig. published in 1924), as well as useful introduction, biographical information, and bibliographical study by Sugiyama. See also Teele 1957 and Nishino 2003, 187.

Pound/ Fenollosa 1916
See Fenollosa/ Pound.

Quinn 2005
Shelley Fenno Quinn. Developing Zeami: The Noh Actor’s Attunement in Practice (Honolulu: Hawai’i University Press, 2005). Translation of Takasago, pp. 291-302.

Renondeau 1927-1931
Gaston Renondeau. "Choix de pièces du théâtre lyrique japonais." Bulletin de l'École Française d'Extrême-Orient (BEFEO).  [16 plays: Yorobōshi, Youchi Soga (BEFEO, XXVI, 1926); Fujito, Izutsu, Kagekiyo, Tsurukame (Gekkyūkan; "Grue et tortue ou le pavillon et la lune"), Yōrō (XXVII, 1927); Funa Benkei ("Benkei à la barque"), Sagi, Tōru, Yashima (XXIV, 1929) Makiginu ("Les rouleaux de soie") (XXXI, 1931); Yamauba (Yamanba; XXXII, 1932). To check: ?? Kiyotsune, Teika, Kurama-Tengu. With exception of  Yamanba (yes?), all later republished in Renondeau 1953-54. (Webcat)

Renondeau 1950
Gaston Renondeau. Le Bouddhisme dans les Nô. Tokyo: Maison franco-japonaise, 1950. [Includes translations of Minobu, 33-42; Genzai shichimen, pp. 43-67; Atago Kūya, 109-117, Bashō, 167-178. Also Ukai, Yuki.]

Renondeau 1953-54
Gaston Renondeau, . 2 vols. Tokyo: Maison franco-japonaise, 1953-54.  206 p., 276 p. [15 plays translated. Reprint of BEFEO translations.][Library catalogues list: (1. journée) Yōrō ("Le soutien de la vieillesse"), Yashima, Izutsu, Yorobōshi, Funa-Benkei; [Deuxième Fasciculè]( (2. journée) Tsuru-Kame [Gekkyūden], Kagekiyo, Sagi, Fujito, Tōru; (3. journée) Maki-Ginu [Makiginu; "Les rouleaux de soie"], Kiyotsune, Teika, Yo-Uchi Soga, Kurama-Tengu. Yamanba not included. 
Recheck edition. 

Renondeau 1954, 1961-1962
Gaston Renondeau. [Translations of additional nō published in journal France Asie]: Momijigari (issue 10, 1954); Arashiyama (issue 166, March-April, 1961); Michimori (issue 167, May-June, 1961);  Mutsura (issue 169, Sept-Oct. 1961); Hanjo (issue 170, November-December, 1961); Sesshōseki (issue 171, Jan-Feb 1962)

Revon 1910
Michel Revon. Anthologie de la littérature japonaise. Paris: Ch. Delagreve, 1910.  [Reprinted 1910, 1913, 1923, 1928, also 1986.][One noh play translated, Hagoromo (La robe de plumes) and one kyōgen, Sannin-gatawa (Les trois estropiats).]

Richard 2004
Kenneth L. Richard. Pretty Boys in the Noh. Internet Edition, 2004. [4 plays: (1) Matsumushi (Pinus Erectus) [htm / PDF], (2) Kagetsu (Florimund) [htm / PDF], (3) Kanehira (Imai's End) [htm / PDF], (4) Yoroboshi (The Beggar and His Saviour) [htm / PDF].] As far as I know, these translations were never published. Ken made them available on genji54.com, a site he set up while teaching at Siebold University in Nagasaki and maintained until his death in 2011. I feared the translations lost forever with the disappearance of the site. Fortunately it proved possible to recover the materials through the copy made by the Internet Archive Wayback Machine. I have taken the precaution of making available backup copies in PDF format as well as links to Internet Archive.

Sadler 1934
A. L. Sadler. Japanese Plays: No-Kyogen-Kabuki. Sydney: Angus & Robertson, 1934. [12 noh plays translated: Dōjōji, Hatsuyuki ("Hatsu-yuki or Virgin-Snow"), Iwabune, Kakitsubata, Kamo no Chōmei Kokaji, Murozumiyashiro ("... or the Great Shrine"), Tadanori, Taihei Shōjō ("The Shōjo and the Big Jar"), Tamura, Tomoe.] [Macrons are used inconsistently and sometimes wrongly in this edition. The plays are appear in the following order under these titles: Tadanori, Kakitsubata, Iwabune, Tamura, TomoeHatsu-yuki or Virgin-SnowOyashiro or the Great Shrine, Ko-kaji, Murōzumi [sic], The Shōjo [sic] and the Big Jar, Kamo no Chomei, Dōjōji. For kyōgen translations included see kyōgen page on this site.]

Sansom 1911
G. B. Sansom. "Translations from Lyrical Drama: 'Nō.'" Transactions of the Asiatic Society of Japan 38.3 (1911), 126-176. [3 plays: Funa Benkei ("Benkei=in=the=Ship), Ataka ("Benkei=at=the=Barrier"), Sakura-gawa ("The Cherry=Blossom River"; "a rendering of the greater part [...] There are some omissions [...]"). The opening section of the article (126-32) discusses the language and style of noh, warning against "Schwärmerei"--gushing enthusiasm--for noh's qualities, a reaction to comments by Marie Stopes prefacing her translation of Sumidagawa in Stopes 1909.]

For publications by Shimazaki Chifumi
 島崎千富美 (1910-1998) I have added the type/book number system which the author continued to use in notes, even after beginning publication in the Cornell East Asia Series where the numbers do not appear in the titles.

Shimazaki 1972 (1)
Chifumi Shimazaki. God Noh. Tokyo: Hinoki Shoten, 1972. [6 plays: Ema, Kamo, Oimatsu, Seiōbo, Takasago, Yōrō] REV: Brazell, MN 28 (1973).

Shimazaki 1987 (2/1)
Chifumi Shimazaki. The Noh, Volume 2: Battle Noh in Parallel Translations with an Introduction and Running Commentaries. Tokyo: Hinoki Shoten, 1987. [5 plays: Atsumori, Kiyotsune, Tadanori, Tomonaga, Tsunemasa.]

Shimazaki 1993 (2/2)
Chifumi Shimazaki. Battle Noh Book 2. Published as: Warrior Ghost Plays from the Japanese Noh Theater. Ithaca: East Asia Program, Cornell University, 1993. [6 plays: Kanehira, Michimori, Tomoakira, Tomoe, Yashima, Yorimasa.]

Shimazaki 1976 (3/1)
Chifumi Shimazaki. The Noh, Volume III: Woman Noh. Book 1. Tokyo: Hinoki Shoten, 1976. [4 plays: Hajitomi, Kochō, No-no-miya, Yūgao.]

Shimazaki 1977 (3/2)
Chifumi Shimazaki. The Noh, Volume III: Woman Noh. Book 2. Tokyo: Hinoki Shoten, 1977. [5 plays: Eguchi, Izutsu, Kakitsubata, Matsukaze, Obasute.]  REV: Tyler, JATJ 15.1 (1980).

Shimazaki 1987 (3/3)
Chifumi Shimazaki. The Noh, Volume III: Woman Noh. Book 3. Tokyo: Hinoki Shoten, 1987. [5 plays: Hotoke no hara, Futari Shizuka, Ohara gokō, Senju, Yuya.]

Shimazaki 1994 (4/1)
Shimazaki, Chifumi. Restless Spirits from Japanese Noh Plays of the Fourth Group. Cornell, 1994. [4 plays: Funabashi ("Bridge of Boats"), Kazuraki, Saigyō-Zakura, Tenko ("Heavenly Drum")]

Shimazaki 1998 (4/2)
Shimazaki, Chifumi. Troubled Souls from Japanese Noh Plays of the Fourth Group. Cornell, 1998. [6 plays: Eboshiori, Jinen koji, Kagekiyo, Kanawa, Kogō, Semimaru]

Shirane 2007
Haruo Shirane, ed. Traditional Japanese Literature: An Anthology, Beginnings to 1600. New York: Columbia University Press, 2007. [8 plays, including four new translations: Aoi no ue ("Lady Aoi"), adapted from a translation by the Nippon Gakujutsu Shinkōkai [= NGS II, 1959]; Sotoba Komachi ("Stupa Komachi"), trans. by Herschel Miller; Matsukaze ("Pining Wind"), trans. by Royall Tyler [=Tyler 1992]; Takasago, adapted from a translation by the Nippon Gakujutsu Shinkōkai [= NGS I, 1955]; Atsumori, trans. by Royall Tyler [=Tyler 1992]; Sumidagawa ("Sumida River"), trans. by Anthony H. Chambers; Nonomiya ("Shrine in the Fields"), trans. by Jack Stoneman; Ataka, trans. by Anthony H. Chambers.] With introductions by Akiko Takeuchi. While there are changes to the stage directions and formatting of the Penguin Books versions by Tyler, the texts seem unaltered. In the case of the NGS translations, there have been many changes to word choice and phrasing.

Shively 1957

Donald H. Shively, "Buddhahood or the Nonsentient: A Theme in Nō Plays." HJAS, 20: 1/2 (1957), 135-161. [JSTOR] [Contains passages tr. from Bashō, Yamamba, Saigyō-zakura, Seiōbō, Sumizome-zakura, Mutsura, etc.]

Sieffert 1960
René Sieffert. Zeami, La tradition secrète du nō, suivie de Une journée de nō. Paris: Gallimard / Unesco, 1960 [5 plays: Iwafune, Sanemori, Semimaru, Sesshōseki, Yūgao.]

Sieffert 1979 (I), Sieffert 1979 (II)
René Sieffert. Nô et Kyōgen. 2 vols. Paris: Publications Orientalistes de France, 1979. [50 plays: vol. I contains Ama ("La pêcheuse"), Aridōshi, Chikubushima, Dōjōji, Ema ("L'image du Cheval"), Hagoromo ("La céleste robe de plumes"), Hyakuman, Kakitsubata ("Les iris"), Kantan, Kasuga ryūjin ("Le dieu dragon de Kasuga), Kokaji "Le forgeron"), Kosode Soga, Mimosuso-gawa, Morihisa, Senju, Shunzei Tadanori, Sōshi-arai Komachi ("Le mauscrit lavé"), Tadanori, Takasago, Tomoakira, Tomoe, Tsuchigumo (L'araignée-de-terre"), Utō, Yorimasa, Yuya; vol. II: Adachigahara (Adachi-ga-hara), Aoi-no-ue, Daie (Dai-e, "La grande assemblée"), Dōmyōji (Dômyô-ji), Eboshi ori ("Le pliage de l'éboshi"), EnoshimaHachinoki ("Les arbres en pot"), Haku Rakuten, Hana-gatami ("La corbeille à fleurs"), Hatsuyuki, Ikkaku sennin ("Le magicien Unicorne"), Ikuta Atsumori, Kanehira, Kazuraki, Kiyotsune, Matsukaze, Mekari ("La moisson des algues"), Michimori, Nonomiya ("Le temple de la lande"), Shunkan, Sumiyoshi mōde ("Le pèlerinage à Sumiyoshi"), Take no yuki ("La neige sur les bambous"), Tenko ("Le tambour céleste"), Tsunemasa, U-no-matsuri ("La fête du cormoran").]

Sieffert 1995
René Sieffert. L'Ile d'Or. Suivi de Sumidagawa. 96 p. Paris: Publications Orientalistes de France, 1995. [1 play: Sumidagawa. Volume also contains translations of Zeami's later writings: Kintōsho, Musseki isshi, Kyoraika, etc.]

Smethurst 1989
Mae J. Smethurst. The Artistry of Aeschylus and Zeami: A Comparative Study of Greek Tragedy and Nō. Princeton University Press, 1998. [One complete translation included: Sanemori]

Smethurst 1998
Mae J. Smethurst. Dramatic Representations of Filial Piety: Five Noh in Translation. Cornell, 1998. [5 plays: Dampū, Nakamitsu ("also named Manjū"), Nishikido, Shichikiochi, Shun'ei]

Smethurst 2003
Mae J.  Smethurst, ed., with Christina Laffin, co-ed. The Noh Ominameshi: A Flower Viewed from Many Directions. Ithaca, NY: East Asia Program, Cornell University, 2003. 362 pages. [Contains two complete translations of Ominameshi, by Steven Brown and by Mae J. Smethurst, as well as translations of passages by other hands.]

Steinilber-Oberlin and Matsuo 1929
Émile Steinilber-Oberlin and Kuni Matsuo. Le Livre des Nō: drames légendaires du vieux Japon. Paris: L'edition d'art H. Piazza, 1929. 170 p.  [15  plays translated, including: Aoi no ue, Eguchi, Hachi no ki, Hagoromo, Hashi-Benkei, Kagekiyo, Kantan, Kinuta, Miwa, Motomezuka, Ohara gokō, Oimatsu, Sesshōseki.] To see: Webcat: Japan Foundation, Nichibunken, Hōsei.  Discussed in Teele 1957 and Nishino 2003, 185. Latter identifies Matsuo as 松尾邦乃助 (1899-1975) and gives particulars.

Stopes 1909
Marie C. Stopes. "A Japanese Mediaeval Drama." Transactions of the Royal Society of Literature, vol. xxix, part 3 (1909), 153-178. [Includes translation of Sumidagawa as "The Sumida River."]
        Based on paper read in the same year before the Royal Society of Literature, London. According to Stopes and Sakurai 1913, 5n, the "major part of the verse" was republished in Stopes and Sakurai 1913, 78-95. On comparison, I found the version of Sumidagawa in the book essentially as that early version here, apart from the addition of stage directions. The introduction is an early draft for the longer discussion in the book, but is worth reading in its own right, as some arguments--about translation, or about the distinction between "prose" and "verse" portions of plays--are expressed differently. (Journal obtained at British Library.)

Stopes and Sakurai 1913
Marie C. Stopes and Jōji Sakurai. Plays of Old Japan: The Nō. London: Heinemann, 1913. [New York: E. P. Dutton, 1913.] 102 pages. [4 plays: Motomezuka ("The Maiden's Tomb"),  Kagekiyo, Tamura, Sumidagawa ("The Sumida River").]. *See Stopes 1909 for information about the first publication of "The Sumida River." The title "The Maiden's Tomb" translates alternative title Otome-zuka. See note, p. 97, for Stopes' explanation for preferring the "older title."

Suzuki 1932
Beatrice Lane Suzuki. Nōgaku: Japanese Nō Plays. With a forward by Iwao Kongo. Wisdom of the East Series. New York: E. P. Dutton, 1932 / London: John Murray, 1932. [7 plays: Aridōshi, Ebira, Futari Shizuka (as "Ninin Shizuka"; "The Two Shizukas"), Kashiwazaki, Tsuchigumo, Yuki. Summaries also of: Dōjōji, Fuji, Kamo, Kochō, Morihisa, Semimaru, Yuya.]

Teele 1957
Teele, Roy E. "Translations of Noh Plays." Comparative Literature 9: 4. (Autumn, 1957), 345-368. JSTOR [A very useful survey of early translations]

Teele 1993
Teele, Roy E., Nicholas J. Teele, and H. Rebecca Teele. Ono no Komachi: Poems, Stories, Nō Plays. New York & London: Garland Publishing, 1993. [6 plays: Fumigara ("The Love Letters"), Kayoi Komachi ("The Nightly Courting of Komachi"), mu Komachi ("Komachi's Parrot-Answer Poem"), Sekidera Komachi ("Komachi at Seki Temple"), Sōshi Arai Komachi ("Komachi Clears Her Name"), Sotoba Komachi ("Komachi on the Stupa").]
        The collection also include the Kokinshū poems of Ono no Komachi and two medieval stories about her, Komachi Sōshi ("The Story of Komachi") and Komachi Uta Arasoi (""The Arguments of Komachi"). Some of Roy Teele's translations appeared earlier in journal form.

Tsukui 1983
Nobuko Tsukui. Ezra Pound and Japanese Noh Plays. Washington, D.C.: University Press of America, 1983. [Reprints Pound's draft of Fenollosa translation of Yoro, not used in Fenollosa/Pound 1916b.]

Tyler 1978a
Tyler, Royall. Pining Wind: A Cycle of Nō Plays. Cornell East Asia Series no. 17. Ithaca, N.Y.: Cornell University East Asia Program, 1978. [10 plays: Eguchi ("Mouth-of-Sound"), Funabashi ("The Boat Bridge"), Hagoromo ("The Feather Mantle"), Jinen koji  ("Layman Selfsame"), Kinuta  ("The Block"), Matsukaze ("Pining Wind"), Nomori ("The Watchman's Mirror"), Sekidera Komachi ("Komachi at the Gateway Temple"), Takasago, Yashima.] 
        Different versions of Eguchi, Hagoromo, Kinuta, Matsukaze, Sekidera Komachi, Takasago, and Yashima appear in Tyler 1992. The versions here are more experimental in translation technique. The translations of Hagoromo and Matsukaze are available through Japanese Text Initiative. This collection also contains translations of five kyōgen pieces:  Kaminari, Kani yamabushi, Matsuyani, Onigawara.

Tyler 1978b
Tyler, Royall. Granny Mountains: A Second Cycle of Nō Plays. Cornell East Asia Series no. 18.  Ithaca, N.Y.: Cornell University East Asia Program, 1978. [9 plays: Hyakuman ("Million"), Izutsu ("The Well Cradle"), Kinsatsu ("The Golden Tablet"), Nue ("Nightbird"), Sotoba Komachi ("Komachi on the Gravepost"), Yamamba ("Granny Mountains"), Yorimasa, Yoshino Shizuka ("Shizuka at Yoshino"), Yuya.] 
        The translations of Izutsu and Sekidera Komachi are available through Japanese Text Initiative. Different versions of Izutsu and Yamamba appear in Tyler 1992. The versions here are more experimental in translation technique. The collection also contains translations of five kyōgen pieces: Hanago, Asaina, Shibiri, Tsūen, and Jizō-mai.

Tyler 1992
Tyler, Royall. Japanese Nō Dramas. Harmondsworth, Middlesex, England: Penguin, 1992. [24 plays: Ama ("The Diver"), Atsumori, Aya no Tsuzumi ("The Damask Drum"), Chikubu-shima, Eguchi, Funa Benkei ("Benkei aboard Ship"), Hagoromo ("The Feather Mantle"), Hanjo ("Lady Han"), Izutsu ("The Well-Cradle"), Kantan, Kasuga ryūjin ("The Kasuga Dragon God"), Kinuta ("The Fulling Block"), Kureha, Matsukaze ("Pining Wind"), Nonomiya ("The Wildwood Shrine"), Saigyō-zakura ("Saigyō's Cherry Tree"); Seki-dera Komachi ("Komachi at Seki-dera"), Semimaru, Sumida-gawa ("The Sumida River"), Tadanori, Takasago, Tatsuta, Yamamba ("The Mountain Crone"), Yashima.] 
        Different versions by Tyler of the following plays were published in earlier collections: Hanjo and Matsukaze (Keene 1970), Eguchi, Hagoromo, Kinuta, Matsukaze, Sekidera Komachi, Takasago, and Yashima (Tyler 1978a), Izutsu and Yamamba (Tyler 1978b). See also Keene 1970 for Tyler's translations of Tanikō, and Torioi-bune.

Royall Tyler: articles on noh include:
"Buddhism in Noh." Japanese Journal of Religious Studies 14/1 (1987), 19-52. [Online]

Ueda 1962
Ueda, Makoto. The Old Pine Tree and Other Noh Plays. Lincoln, Nebraska: University of Nebraska Press, 1962. [5 plays: Higaki ("The Woman within the Cypress Fence"),  Jinen koji ("Jinen the Preacher"), Matsuyama kagami ("The Mirror of Pine Forest"); Oimatsu ("The Old Pine Tree"); Yashima ("The Battle of Yashima").]

Rivas Vicuna 1919
Francisco Rivas Vicuna. El drama lirico japonés, Las danzas No, Nogaku. Tokyo: 1919. [Five plays translated, including Motomezuka ("La tomba de la doncella"), and Kagekiyo (as "Kanekiyo").]    
        Free and inaccurate versions in Spanish by a translator who was "an amateur both in language and the ideas of the Japanese" (Teele 1957: 353).

Wadagaki 1898
K. Wadagaki, "Monoceros, the Rishi,"
Hansei Zasshi [反省雜誌] no. 13 (Jan. 1898), 14-24.         
        NOT YET SEEN (microfilm of journal available in some Japanese libraries. Webcat).
 The translation
is "surprisingly good" according to Teele 1957: 363.    
       
Kenzō Wadagaki 和田垣謙三 (1860-1919) was professor of law and author of Gleanings from Japanese Literature (1919) and a translation of the Chushingura scene of Kampei's death.

Waley 1921
Waley, Arthur. The Nō Plays of Japan. London: Allen and Unwin, 1921. Reprints include Charles Tuttle, 1976, and Dover Publications, 1998. [19 plays translated, with summaries for an additional 17 plays In the entries above and in the following alphabetical list, (S) indicates summary only, (S/t) summary with one or more passages translated, (S/T) summary with longer passage(s) translated. No mark indicates a "complete" translation. Waley's romanized title appears in parentheses when it differs from that used in this checklist: Ama ("The Fisher-girl") (S/t), Aoi no ue (Aoi no Uye, "Princess Hollyhock"), Atsumori, Aya no Tsuzumi ("The Damask Drum"), Eboshi-ori, Hachi no ki, Hagoromo, Haku Rakuten, Hanagatami (Hanakatami "The Flower Basket") (S/T), Hashi Benkei (Hashi-Benkei, "Benkei on the Bridge"), Hatsuyuki ("Early Snow"), Hōkazō ("The Hoka Priests"), Hotoke no hara (S), Ikenie (Ikeniye, "The Pool-sacrifice"), Ikkaku sennin ("The One-horned Rishi") (S/T), Ikuta Atsumori (Ikuta), Izutsu (S/T, p. 219-20), Kagekiyo, Kakitsubata (S/T, p. 220), Kantan, Kumasaka, Maiguruma (Mai-guruma, "The Dance Waggons") (S/t), Mari ("The Football") (S), Matsukaze (S/t), Ominameshi (S/T), Shunkan (Shunkwan) (S/T), Sotoba Komachi, Take no yuki ("Snow on the Bamboos") (S/T), Tango monogurui (Tango-monogurui) (S/T), Tanikō ("The Valley-hurling"), Torioi (Tori-oi) (S), Tōru (S), Tsunemasa, Ukai ("The Cormorant-fisher"), Yamanba ("Yamauba"; "The Dame of the Mountains") (S/t), Yūya (S). Note that the summaries for Izutsu and Kakitsubata do not appear in the table of contents.]. There is an online version at "sacred-texts.com." The electronic text appears to be carefully prepared. Several plays are also available online through Japanese Text Initiative.

Weber-Schäfer 1960
Weber-Schäfer, Peter. Ono no Komachi: Gestalt und Legende im Nō-Spiel. Studien zur Japanologie, Band 2. Wiesbaden: Otto Harrassowitz, 1960. [5 plays: Kayoi Komachi ("Der Weg zu Komachi"), mu Komachi ("Das Antwortgedict der Komachi"),  Sekidera Komachi ("Komachi in Sekidera"), Sōshi arai ("Die Manuskriptsülung"), Sotoba Komachi ("Komachi am Stūpa"). With translation in appendices of "Tamatsukuri Komachi-ko sōsui sho" (Das Buch von Grösse und Niedergang der Tamatsukuri Komachi"), poems of Ono no Komachi (Komachi shū). Noh plays translated from text of Nihon koten zenshū.]

Weber-Schäfer 1961
Weber-Schäfer, Peter. Vierundzwanzig Nō-Spiele. Frankfurt am Main: Insel, 1961. [24 plays: Atsumori, Futari Giō, Hagoromo, Haku Rakuten, Izutsu, Kiyotsune, Kochō, Koi no omoni, Ominameshi, Ryōko (title given as "Ryūko"), Shichiki ochi, Shiga, Shōkun, Shōshi arai Komachi, Shunzei Tadanori, Sotoba Komachi, Suma Genji, Sumidagawa, Sumizomezakura, Takasago, Tamakazura, Tamura, Tsunemasa, Ukai.]

Weatherby and Rogers 1947
Meredith Weatherby and Bruce Rogers, Birds of sorrow: A Nō play. Tokyo: Obunsha, 1947. [Translation of Utō. The translation was reprinted in Keene 1955:271-285. Includes thirty woodblock illustrations by Munakata Shikō 宗方志功 (1903-1975). Two are reproduced in Nishino 2003, 164.]
        A translation by Weatherby of Momijigari was included in Earle Ernst, Three Japanese Plays from the Traditional Theatre (Oxford UP, 1959). 

Wilson 1969
Wilson, William Ritchie. "Two Shuramono: Ebira and Michimori." MN 24: 4 (1969), 415-66. [JSTOR]

Yasuda 1989
Yasuda, Kenneth. Masterworks of the Nō Theater. Indiana UP, 1989. [17 plays: Ataka, Atsumori, Funabenkei, Hagoromo, Higaki, Himuro, Izutsu, Kuzu, Matsukaze, Motomezuka, Nonomiya, Nue, Obasute, Saigyōzakura, Tadanori, Taema, Tōru. The collection also includes an original play: Martin Luther King, Jr.] Many translations were first published earlier. At least four plays were published in pamphlets by Kōfūsha 光風社, Tokyo, in the 1960s. Three easily accessible journal publications are: Kenneth Yasuda, "The Structure of Hagoromo, a Nō Play," HJAS 33 (1973), 5-89 [JSTOR]; "The Dramatic Structure of Ataka, a Noh Play," MN 27:4 (Winter 1972), 359-398. [JSTOR]; "A Prototypical Nō Wig Play: Izutsu," HJAS 40.2 (1980), 399-464. [JSTOR]. Yasuda prints both the romanized Japanese and translation on the same page, an unusual format, with extensive endnotes. As far as I know, there are no other complete modern English translations of Himuro, Kuzu, and Tōru.

Yokota-Murakami 1997
Gerry Yokota-Murakami. The Formation of the Canon of Nō: the Literary Tradition of Divine Authority. Osaka: Osaka University, 1997. [A very useful resource for the study of the "god noh" (waki-nō) category, as well as some plays of other categories. Discussions of many plays. Short translations included are mainly of source texts, such as waka poems.]
[Return to top.]

Bibliography (Japanese language)
This covers only (a) text editions and (b) secondary literature (link) which are cited in the checklist or notes. Web links are to the Webcat page which provides further bibliographical information in Japanese.

(a) original text editions, in order of abbreviations used in entries.
Abbreviations follow those used in Takemoto 1999 (see p. 55) except in cases of series like NKBT or NKBZ where Western scholarship has standard abbreviations.

Kokumin = Furuya Chishin, ed. Yōkyoku zenshū. 2 vols. Kokumin bunko kankōkai, 1911.
古谷知新編 『謡曲全集』上下 (国民文庫刊行会)
[Unannotated edition. Most, perhaps all, of the texts in volume 1 are still in the repertory and available in more recent additions, but volume 2 is a useful edition as a supplement to KYS above, as it prints a large number of bangai nō from two Edo collections, the three-hundred play collection of Jōkyō 3 (1686) and the four-hundred play play collection of Genroku 2 (1689). When reading texts in the larger, annoted KYS collection (see above), it is worth comparing the text given here, as there are textual differences.  See comments on edition in Nogami, Nōgaku zensho, 3:236-7.)
* Takemoto 1995 abbreviates 『国民』.

KYS = Haga Yaichi and Sakaki Nobutsuna. Kōchū Yōkyoku sōsho. Three vols. Hakubunkan: 1913-15; reprint Rinsen shoten: 1987.
芳賀矢一・佐佐木信綱校註 『校註謡曲叢書』 (博文館、複製:臨川書店)
Annotated edition of a total of 548 noh texts, including several hundred bangai plays. Convenient for reference also in that plays are given in gojūon order of title (as written in historic kana). Vol. 1:  あーこ,  Vol. 2:  さーと, Vol. 3:   なーを. A few plays are given out of order at the end of vol. 3 (補遺).
* Takemoto 1995 abbreviates 『叢書』.

Meichō = Nonomura Kaizō, ed., Yōkyoku sanbyakugojūshū. Nihon meicho zenshū kankōkai, 1928.
野々村戒三校訂『謠曲三百五十番集』日本名著全集刊行会 . Base text for the UTAHI electronic text. References to this edition have been omitted when a link is given to the UTAHI site.
* Takemoto 1995:55 abbreviates 『三五』.

Mikan = publications by Tanaka Makoto 田中允編 in Koten bunko 古典文庫.
  1. Tanaka Makoto, ed. Bangai yōkyoku 番外謡曲. Koten bunko vol. 33, 1950.
    Abbreviated here as Tanaka, Bangai『番 外』 in Takemoto 1995.
  2. Tanaka Makoto, ed. Zoku bangai yōkyoku 続番外謡曲. Koten bunko vol. 57, 1950. 
    Abbreviated here as Tanaka, Zokugai『続 外』 in Takemoto 1995.
  3. Tanaka Makoto, ed. Mikan yōkyōshū 未刊謡曲集. 31 vols. Koten bunko, 1963–1978. 
    Abbreviated here as Mikan, with vol. number, 『未刊1〜31』in Takemoto 1995.
  4. Tanaka Makoto, ed. Mikan yōkyōshū zokuhen 未刊謡曲集続編. 22 vols. Koten bunko, 1963–1978. 
    Abbreviated here as Mikan-zoku, with vol. number, 『続1〜14』in Takemoto 1995.
Note that no. 1 and 2 above are sometimes catalogued together as 続番外謡曲 (正), 番外謡曲(続) and referred to in the literature as sei and zoku. Volumes of the series, nos. 3 and 4, must be located among other Koten bunko editions. See Webcat links or local library catalogue for vol. numbers. [Webcat][Webcat-3][Webcat-4]
* The collection includes [bangai]  from early manuscripts and printed texts as well as plays written in the twentieth-century. Some volumes arrange plays in gojūon order, others follow the base text. Multiple editions of the same play are included. There are no headnotes and no list of roles, but each volume begins with brief notes on plays, mainly textual. See the final three vols. of series for indices to all plays in series.

NKBT 40, NKBT 41
= Yokomichi Mario and Omote Akira, eds. Yōkyōkushū. 2 vols. Nihon Koten Bungaku Taikei 40-41. Iwanami shoten, 1960, 1963. 横道萬里雄・表章  『謡曲集』上下 日本古典文学大系 岩波書店. Plays arranged by author (attributed), or period. An electronic text for scholarly use has been produced by NIJL (国文学研究資料館).
* Takemoto 1995:55 abbreviates 『大系』.

NKBZ 33, NKBZ 34 =  Koyama Hiroshi, Satō Kikuo, Satō Ken’ichirō, eds. and trans. Yōkyokushū. 2 vols. NKBZ (Shōgakukan, 1973-75). 小山弘志・ 佐藤喜久雄。 佐藤健一郎校注・訳『謡曲集』上下 日本古典文学全集 小学館 Arrangement by play: by play category (type). Note that this volume is superseded by SNBZ 58, SNBZ 59, which adds four new plays. Vol. 1. includes 40 plays: [type 1] Takasago, Yōrō, Kamo, Chikubushima, Oimatsu, Arashiyama, Tōbōsaku, Tsurukame; [type 2] Tamura, Yashima, Tadanori, Yorimasa, Sanemori, Kiyotsune, Tomonaga, Atsumori; [type 3] Tōboku, Hanjo, Eguchi, Izutsu, Nonomiya, Bashō, Teika, Futari Shizuka,  Kakitsubata, Kazuraki, Hagoromo, Matsukaze, Yuya, Ohara gokō, Higaki, Obasute, Sekidera Komachi; [type 4] Unrin'in, Saigyō-zakura, Miwa, Hyakuman, Miidera, Sumidagawa, Vol. 2 includes 37 plays: [type 4, cont'd] Hanagatami, Hanjo, Fuji daiko, Sotoba Komachi, Aridōshi, Yoroboshi, Jinen koji, Kantan, Nishikigi, Kayoi Komachi, Utō, Motomezuka, Fujito, Aya no tsuzumi, Kinuta, Aoi no ue, Dōjōji, Shunkan, Kagekiyo, Morihisa, Kosode Soga, Ataka; [type 5] Kuzu, Danpū, Kumazaka, Shōkun, Nue, Kurozuka (Adachigahara), Momijigari, Funa Benkai, Kurama tengu, Zegai, Ama, Tōru, Yamanba, Shakkyō, Shōjō. (NKBZ 33: 脇 能 [type 1] 高砂 養老 賀茂竹生島 老松 嵐山 東方朔 鶴亀 修 羅物 [type 2] 田村 八島 忠度 頼政 実盛  清経 朝長 敦盛 
鬘物 [type 3 ] 東北 斑女 江口 井筒 野宮 芭蕉 定家二人静  半蔀 杜若 葛城 羽衣松風 熊野 大原御幸 檜垣 姨捨 関寺小町  四番目物 [type 4] 雲林院 西行桜 三輪 百万 三井寺 隅田川. NKBZ 34: 花筐 ■女(班女) 富士太鼓 卒塔婆小町 蟻通 弱法師 自然居士 邯鄲 錦木 通小町善知鳥 求塚 藤戸 綾鼓 砧 葵上 道成寺 俊寛景清 盛久 小袖曾我 安宅 切 能 [type 5] 国栖 檀風 熊坂 昭君 鵺 黒塚 紅葉狩 舟弁慶 鞍馬天狗 善界 海人 融 山姥 石橋 猩々)
   
Kazuraki is categorized as type 3 in NKBZ 33 but as type 4 in SNBZ 58.  Four plays not found in NKBZ 33–34 are added in SNBZ 58–59: Okina; [type 2] Tomoe; [type 3]  Yōkihi; [type 4] Semimaru.
* Takemoto 1995:55 abbreviates 『全集』.

Shinhyaku = Sasaki Nobutsuna, ed. Shin'yōkyoku hyakuban. Tokyo: Hakubunkan, 1912, reprint Kyoto: Rinsen shoten, 1987. 38+440 pp. 佐佐木信綱著『新謡曲百番』博文館(臨川書店)
 [Webcat (1912 ed.)(reprint). The text is relatively rare, but a scanned version of the entire text is available on the Diet Library website as part of the "Digital Library from the Meiji Era" (Kindai dejitaru raiburarī 近代デジ タルライブラリー.
* Takemoto 1995:55 abbreviates 『新百』.

SNKZ 58, SNKZ 59
= Koyama Hiroshi and Satō Ken'ichirō, ed. and trans. Yōkyōkushū. 2 vols. Shinpen Nihon Koten Bungaku Zenshū. Shōgakukan, 1997–1998. 小山弘志・ 佐藤喜久雄校注・訳『謡曲集』上下 日本古典文学全集 小学館.
These revised editions supersede NKBZ 33–34, adding four plays (Okina, Tomoe, Yōkihi, Semimaru) as noted above. Vol. 1 includes 40 plays: Okina, [type 1] Takasago, Yōrō, Kamo, Chikubushima, Oimatsu, Arashiyama, Tōbōsaku, Tsurukame; [type 2] Tamura, Yashima, Tadanori, Yorimasa, Sanemori, Kiyotsune, Tomonaga, Atsumori, Tomoe; [type 3] Tōboku, Uneme, Eguchi, Izutsu, Nonomiya, Bashō, Teika, Hajitomi, Yōkihi, Futari Shizuka, Kakitsubata, Hagoromo, Matsukaze, Yuya, Ohara gokō, Higaki, Obasute, Sekidera Komachi; [type 4] Unrin'in, Saigyō-zakura, Kazuraki, Miwa. Vol. 2 includes 41 plays: [type 4, cont'd] Hyakuman, Miidera, Sumidagawa, Hanagatami, Hanjo, Semimaru, Fuji daiko, Sotoba Komachi, Aridōshi, Yoroboshi, Jinen koji, Kantan, Nishikigi, Kayoi Komachi, Utō, Motomezuka, Fujito, Aya no tsuzumi, Kinuta, Aoi no ue, Dōjōji, Shunkan, Kagekiyo, Morihisa, Kosode Soga, Ataka; [type 5] Kuzu, Danpū, Kumazaka, Shōkun, Nue, Kurozuka (Adachigahara), Momijigari, Funa Benkai, Kurama tengu, Zegai, Ama, Tōru, Yamanba, Shakkyō, Shōjō. [SNKZ 58; 翁 脇能 [type 1] 高砂 養老 賀茂 竹生島 老松 嵐山 東方朔 鶴亀修羅物 [type 2] 田村 八島忠度 頼政 実盛 清経 朝長 敦盛 巴 鬘物 [type 3 ] 東北 ■女(班女) 江口 井筒 野宮 芭蕉 定家 半蔀 楊貴妃 二人静 杜若 羽衣 松風 熊野 大原御幸 檜垣姨捨  関寺小町 四番目物 [type 4] 雲林院 西行桜 葛城三輪. SNKZ 59: 百万 三井寺 隅田川 花筐 班女 蝉丸 富士太鼓 卒塔婆小町蟻通 弱法師 自然居士 邯鄲 錦木通小町 善知鳥 求塚 藤戸 綾鼓 砧 葵上 道成寺 俊寛 景清 盛 久 小袖曾我 安宅 切能 [type 5] 国栖 檀風 熊坂 昭君 鵺  黒塚(安達原) 紅葉狩 船弁慶 鞍馬天狗 善界 海人 融 山姥 石橋 猩々 
Base text is Kan'ei 6 (1629) Kanze school text (寛永卯月本). Volume and page numbers for plays in this edition have been entered above.]

SNKT
57   = Nishino Haruo, ed. Yōkyoku hyakuban. SNKT (Iwanami, 1998)
西野春雄校注 『謡曲百番』 新日本古典文学大系57
[Arrangement of plays is traditional, beginning with Takasago. Edition of Kan’ei 7 (1630) woodblock edition.]

SNKS = Itō Masayoshi, ed. Yōkyōkushū. 3 vols. Shinchō Nihon Koten Shūsei. Shinchōsha, 1983-88. 伊藤正義校注『謡曲集』新潮古典集成(新潮)
[Arrangement of plays: gojūon order. Text based on Kōetsu utaibon. Detailed annotation, supplementary notes. For convenience, we refer to Yōkyokushū () as SNKS [1], Yōkyokushū (chū) as SNKS [2], and Yōkyokushū (ge) as SNKS [3].]
* Takemoto 1995:55 abbreviates 『集成』.

Taikan = Sanari Kentarō, ed. Yōkyoku taikan. 6 vols. (Meiji Shoin, 1930-31).
佐成謙太郎著『謡曲大観』(明治書院).
[Arrangement of plays: gojūon order of titles (as written in historic kana). All plays accompanied by introductory matter, headnote annotation, and modern Japanese translation (paraphrasing somewhat freely, but helpful).]
* Takemoto 1995:55 abbreviates 『大観』.

Tanaka, Bangai; Tanaka, Zokugai (see entry Mikan above).

Yōkyoku 250banshū = Tani Tokuzō, ed. Yōkyoku nihyakubanshū sakuin. 2 vols. [text and concordance]. Kaidai sakuin sōkan 6. (Akaoshōbundō, 1988).
大谷篤蔵編 『謡曲二百五十番集索引』 (赤尾照文堂)
Arrangement of text: by play type. Concordance in one volume, with play/page/dan reference to the unannotated text of 253 plays in the second volume. The text also contains small black-and-white photographs of performances. For reference rather than reading (the text of the plays is also somewhat muddy), but extremely useful. The concordance is well arranged and clearly laid out. 

Zensho = Nogami Toyoichirō and Tanaka Makoto, eds. Yōkyokushū. 3 vols. Nihon koten zensho. Asahi Shinbusha, 1949-1957. 野上豊一郎解説・田中允校注 『謡曲集』上中、田中允校注 『謡曲集』下. 日本古典全書(朝日新聞社).  Annotated text of 133 plays edited from manuscripts and moveable-type (kokatsuji) edition. Arrangement: play category. For further details see short-list (PDF).
* Takemoto 1995:55 abbreviates 『全書』.

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(b) secondary-literature in Japanese (mainly encyclopedic sources)
See above for text editions.

Maruoka Kei, ed. Nishino Haruo. Kokin yōkyoku kaidai. Kokin yōkyoku kaidai kankōkai, 1984. Revised edition with additional notes by Nishino Haruo.  
丸岡桂著 西野春雄編 『古今謡曲解題』(古今謡曲解題刊行会 1984)
[Short plot summaries. Handy when searching for plays on a specific topic. Unusual in that it includes many non-canonical (bangai) plays. Topics include plays based around poets, warriors, revenge stories (ada-uchi), secular topics (master/retainer, parent/child, husband/wife, filial piety, love), beauties, shrines and temples, divinities and deamons, plant and animal spirits.]

Nishino Haruo and Hata Hisashi, ed. Nō kyōgen jiten. Heibonsha, 1999 (revised ed.).
西野春雄・羽田昶編 『能・狂言事典』 新訂増補(平凡社)
[Reliable guide to a wide range of topics. For entries on individual plays see Nishino 1999 below.]

Nishino 1999 = "Nōkyokumei" 能曲名 (pp. 10-163, with additions 438-443) in above work. Entries for plays in gojūon order compiled by Nishino Haruo. A basic, up-to-date source. Canonical plays only.]

Nishino 2003 = Nishino Haruo et al., ed., "Nōgaku kankei gaikokugo bunken mokuroku" 能楽関係外国語文献目録 in Nogami kinen Hōsei daigaku nōgaku kenkyūsho 野上記念法政大学能楽研修所, ed. Gaikokujin no nōgaku kenkyū 外国人の能楽研究 (Hōsei daigaku kokusai Nihongaku kenkyū center, 2003).

Nogami Toyoichirō, ed. Nōgaku zensho. 7 vols. Tokyo Sōgensha, 1979-81 (revised ed., orig. published 1942).  野上豊一郎編 『能楽全書 』(創元社)  [Volume 3 has several useful lists: "Yōkyoku kyokume sōran" (pp. 235-279) identifies editions of plays, while "Honyakukyōku ichiran" by Nishino Haruo (pp. 328-316) lists translations. It includes more prewar journal publications than does the present database.]

Takemoto Mikio and Hashimoto Asao. Nō kyōgen hikkei. Gakutōsha, 1995.
竹本幹夫・橋本朝生編『能・狂言必携』別冊國文学 NO. 48 (學燈社)
[See Takemoto 1995 below for handy guide to plays.]

Takemoto 1995 = Nōsakuhin zenran" (pp. 53-120) edited by Takemoto Mikio in above work. This is a compact guide to plays in gojūon order, including information not given in the corresponding list in Nishino 1999, such as the date when a play is first mentioned in documentary sources. Short note of standard modern edition, also references to some secondary literature. Many more bangai plays are included than in Nishino 1999.]
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play types (nōgara 能柄):
(
1) waki-nō mono 脇能物 or uimemono 初目物, usually translated as "god plays";
(2) nibanme-mono 二番目物, second-category plays, or shura-mono 修羅物, "warrior plays";
(3) sanbanme-mono 三番目物, third-category plays, or kazura-mono 鬘物, "wig pieces" or "woman plays" (although the protagonist is not necessarily a woman);
(4) yobanme-mono 四番目物 "fourth-category plays" (a large and varied group), many of these are genzaimono 現在物 "plays of a miscellaneous or contemporary character"; and
(5) gobanme-mono 五番目物, fifth-category plays, or kiri-nō 切能 "concluding plays."
(Translation of some terms follows Keene 1990 [1966], 21, and Tyler 1992, 13).

Distribution of plays by type is very uneven. One standard collection of 253 plays in the repertoire lists Okina first, then 42 waki-nō, 16 shura-mono, 47 sanbanme-mono, 97 yobanme-mono, and 50 gobanme-mono (Nonomiya Keizō, Yōkyōku nihyaku gojū banshū [Akao Shōbundō, 1978]).
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Electronic texts
Texts and translations of thirteen plays have been made available through the Japanese Text Initiative sponsored by the University of Virginia Library Electronic Text Center and the University of Pittsburgh East Asian Library. In many cases, several translations are available for one play. Translators: Susan Matisoff, Fenollosa/Pound, Marie Stopes, Royall Tyler, Paul Varley, and Arthur Waley. For copyright reasons the Japanese text is based on Yōkyoku Hyōshaku, ed. Ōwada Tateki (Tokyo: Hakubunkan, 1907) [Webcat: 謡曲評釋 / 大和田建樹著 (博文館, 1907-1908), 9 vols.], an edition used by Waley and other early translators. For details see: http://etext.lib.virginia.edu/japanese/noh/index.html
[Aoi no ue, Aya no tsuzumi, Hagoromo, Izutsu, Kagekiyo, Kumasaka, Matsukaze, Nonomiya, Sekidera Komachi, Semimaru, Sotoba Komachi, Takasago, Tsunemasa.]
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 The UTAHI Hangyō bunko (半魚文庫) site has sponsored a long-term project to digitize the text of an edition of the 253 plays. All are now online, and 51 non-canonical plays (bangai yōkyoku) have been added. As of February 2009, only "Akoya no matsu" remains to edit. This page does not include entries for all the non-canonical plays. For titles and links, see nos. yob01 to yob51 here.
The base texts are:
(1) Nonomura Kaizō , ed., Yōkyoku sanbyakugojūshū (Nihon meicho zenshū kankōkai, 1928)
        野々村戒三校訂『謠曲三百五十番集』日本名著全集刊行会
(2) Nonomiya Keizō , ed., Yōkyoku nihyaku gojū banshū (Akao Shōbundō, 1978) 2 vols. This edition was revised by Ōtani Tokuzō 大谷篤蔵 and contains a concordance in the second volume.
        野々村戒三校訂『謠曲二百五十番集』赤尾照文堂 Webcat.

Details of the project and information about the texts and how they should and should not be used are given on the hanrei page. In a nutshell: free to use but not to sell, best used for SEARCHING rather than reading. The individual plays can be accessed on a page that also indicates the stage of editing reached. The entire corpus can be searched using a single page--with patience you can copy it all to a single word processor file. (It comes to over 2000 pages in Microsoft Word.)
http://www.kanazawa-bidai.ac.jp/~hangyo/utahi/yo.txt
If you have mojibake problems with UTAHI texts, switch to "Japanese (EUC)" encoding. There was  problem with display with older versions of Mac OSX "Safari," but it now works well. If UTAHI pages appears with "strike-through" text, the quickest work around is to copy and paste the text into a word-processing application.
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Acknowledgements:
An earlier version of this checklist benefitted from Paul Atkins' "An Index of Noh Play Translation" now at glopac.org. For information about hard-to-obtain items, I am endebted to "Nōgaku kankei gaikokugo bunken mokuroku," Gaikokujin no nōgaku kenkyū, ed. Nogami kiken Hōsei daigaku nōgaku kenkyūsho (Hōsei daigaku kokusai Nihongaku kenkyū sentā, 2005), 155-209.

Compiled by Michael Watson (Meiji Gakuin University) <watson[at]k.meijigakuin.ac.jp>

Partial revision history:
2004.07 changed to Unicode. Addition of diacritical marks. Circumflex used for macron.
2009.02 Macron introduced. Addition of  many UTAHI links. Corrections.
2008.06 Corrections and addition. Added vol/page info. for SNKT (新編日本古典文学全集). Page nos. for Sanari vol. 3.
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