Michael Watson, "Modes of Reception: Heike Monogatari and the Nô play Kogô," International and Regional Studies [Meiji Gakuin University] 16 (May 1997): 275-303. The opening paragraphs of this paper (p. 275) are given elsewhere on this site. Below you may find an introduction to the play, transliteration (romanization) and translation (pp. 282-299 of original paper, annotation omitted). Shorter bibliography appended.
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Note that one year after the publication of this translation, an English rendering of Kogô by Chifumi Shimazaki appeared in Troubled Souls from Japanese Noh Plays of the Fourth Group, Ithaca: Cornell East Asia Series, 1998.

The nô play Kogô

Kogô is attributed to Komparu Zenchiku, a leading early playwright and the most important nô theorist after his father-in-law Zeami. The evidence for his authorship is partly based on documentary evidence and partly stylistic: the tsure plays an major role, that of Kogô, which is said to be characteristic of Zenchiku. One other play attributed to Zenchiku is drawn from the Heike monogatari: Senju. Like Kogô, this play centers around a lyrical episode involving a woman, Senju-no-mae, from the section of that name in book 10. Zenchiku's father-in-law Zeami wrote many great plays of the second category about Genpei warriors, declaring "If, for example, the play is to be created around a famous general of the Genji or the Heike, you should take special care to write the story just as it appears in the Heike monogatari" (tr. Hare 1986, 186). It is typical of Zenchiku's genius to have found inspiration in a entirely different side of Heike monogatari.

As explained above, only the central part of the Heike episode has been dramatised: from Nakakuni receiving the Emperor's command to the end of the scene in Saga. There is one major change: the Emperor does not appear directly. The first scene takes place in Nakakuni's house. The imperial messenger (waki) brings the command to Nakakuni. One reason for this change may be to avoid portraying the emperor directly in what would be a subsidiary role, although whether this is for primarily technical reasons or out of respect for the status of the emperor is not clear. In any case, the emperor's feelings are well conveyed by other means, through direct quotation in the first half, and through the medium of the chorus in the second.

The play has been shorn of its political dimensions. There is only a brief mention in the waki's opening speech to Kiyomori, the Chancellor. There is no hint of the fate that awaits Kogô, and she makes no threat to take the tonsure of her own accord as in the prose narrative. After Nakakuni expresses his joy by calling for wine to celebrate, and performs a vigorous dance, he leaves the stage, watched by Kogô. This final scene brings the play to an end on a quieter note.

The play Kogô now part of the repertory of all five schools of nô. It belongs to the fourth category (yobanme) which includes plays of diverse types.

Notes to this translation
To my knowledge no full modern translation of this play has been published in a Western language. [See note above.] Recent Japanese anthologies of nô texts do not include this work, which is perhaps one reason for its relative neglect outside of Japan, although Konparu Zenchiku is highly regarded, both as a playwright and critic.
The base text used for this translation was Sanari (1930, 2:1095-1109), checked against the annotated edition of Tanaka (1953, 2:286-293). Sanari's edition contains a full paraphrase of the text and details of stage action. Punctuation largely follows Tanaka . References were also made to the notes in Haga and Sasaki (1914, 1:728-733) and the current utaibon  of the Kanze school (Kanze 1995).
I have followed usual conventions of recent nô translations. In performance there would be an interlude (ai) involving a conversation between Kogô and the woman in whose house in Sagano she is taken refuge, but as usual the interlude is of little importance and I have merely summarized it. The difference between recited passages (katari) and sung passages (tsuyogin or yowagin) is shown by the smaller or greater amount of indentation, respectively. One departure from convention is that the passages of recitation are not set out as prose, but divided into lines according to the punctuation (maru) of the texts for singing (utaibon). The Japanese names for the segments of the play (e.g. nanori, "naming speech") are given in italics and are not translated.
The stage-directions are based on Sanari (1930, 2:1097ff.), with some additions, such as explanation when characters change from first-person speech to third-person narration as they do at several points. Information on costumes is based on from Sanari (1930, 2:1095), and Kanze (1995, 4 verso). English terms generally follow Yasuda (1989).
The romanized text of the play is based on the text edited by Sanari. In the case of long lines like the following from the final chorus
isogu kokoro mo isameru koma ni
the two units of seven syllables have been visually separated to make this passage easier to read. Additional technical terms are given with the romanization in italics. These deal with matters such as the rhythm and speed of singing, for example. I have also added a few explanatory expressions in English based on instructions for nô singing (Kanze 1995).
Quotation marks in the translation indicate phrases borrowed from poems in the imperial anthologies or Genji monogatari. Rather than attempt a fully annotated translation at this stage in my research, I have decided to do without notes entirely for the translation.

waki: Imperial messenger of Retired Emperor Takakura
shite: Nakakuni, Senior Assistant President of the Board of Censors19
tsure: Lady Kogô (Kogô no tsubone)
tomo: Attendant to Kogô


The waki wears a court hat (utsuro eboshi), a heavy silk kimono, broad white divided skirt, a lined hunting robe with an embroidered waistband.

The shite wears a mask (chokumen), high hat (kaze ori eboshi), either broad divided skirt or sashinuki trousers, an unlined hunting robe with stripped patterned waistband, and bears a "god fan" (kami  i). In the second half of the play, the shite carries a letter and horse whip.

The tsure wears a mask (tsuremen ), wig, white collar, under-kimono with painted gold or silver patterns, a brocade waistband, and bears a "wig fan" (katsura  i). The tomo wears the same costume as the tsure, except that her collar is red rather than white.

Part 1. Home of Nakakuni in the capital
Part 2. refuge of Lady Kogô, in Sagano, outside the capital
Reign of Takakura [d. 1181], fifteeenth of the Eight Month



WAKI (nanori)

Kore wa Takakura no in ni tsukae-tatematsuru shinka nari.
Sate mo Kogô no tsubone to môshite,
kimi no gochôai no gozasôrô.
Chûgû wa mata masashiki shôkoku no on-sokujo nareba,
yo no habakari o oboshimeshikeru ka,
Kogô no tsubone kure ni use-tamaite sôrô.
Kimi no on-nageki kagiri nashi.
Hiru wa yoru no otodo ni iri-tamai,
yoru wa mata nanden no yuka ni akasase-tamai-sôrô tokoro ni.
Kogô no tsubone no on-yukue,
Sagano no kata ni gozasôrô yoshi kikoshimeshi-oyobare,
isogi danjô no daihitsu Nakakuni o meshite,
Kogô no tsubone no on-yukue o,
tazunete maire to no senji ni makase.
Tadaima Nakakuni ga shitaku e to isogi sôrô.
[last words sung emphatially]


The waki, Imperial Messenger of Retired Emperor Takakura, enters bearing letter to the music of the "naming flute."
MESSENGER (nanori)
You have before you an official in the service of Takakura-no-in.
Now there is a lady called Kogô
who is much loved by His Majesty.
The Empress is the daughter of his Excellency the Chancellor
so Lady Kogô may have been afraid,
for she has vanished in the night.
His Majesty is grieved beyond measure,
spending his days in the Night Chamber
and his nights until dawn on the veranda of the Southern Palace.
The news that Lady Kogô is living somewhere in Sagano
has now reached the Emperor.
I bring an imperial order commanding Danjô-no-Taihitsu Nakakuni
to go at once in search of Lady Kogô
and to bring news back to the Emperor.
I am now hurrying on my way to Nakakuni's home.

Messenger goes to the First Pine and faces the side curtain.

ika ni Nakakuni no watari sôrô ka?

tare nite watari sôrô zo

kore wa senji nite sôrô. [change of tone]
sate mo Kogô no tsubone no on-yukue
Sagano no kata ni gozasôrô yoshi kikoshimeshi-oyobase-tamai,
isogi tazune-ide kono gosho o atae yo to no senji ni te sôrô.

Senji kashikomatte uketamaware sôrô. [emphatic]
Sate Saga ni te wa ika yô naru tokoro to ka môshi sôrô.

Saga nite wa tada kataorido shitaru tokoro to koso kikoshimesarete sôrae

Sayô no shizu ga ya ni wa kataorido to môshi mono no sôrô.
Kon'ya wa hachigachi jûgo ya nite sôrô aida, [emphatic]
koto hiki tamawanu koto araji.
Kogô no tsubone no on-shirame o ba,
yoku kiki-shirite sôrô aida
on-kokoro yasuku oboshimese to,

Is Nakakuni at home?

NAKAKUNI [enters to the Third Pine]
Who is there?

MESSENGER [bowing]
I bring an Imperial Order.
Word has reached his Majesty
of Lady Kogô' s whereabouts in the area of Sagano.
He commands that you go at once, find Lady Kogô and give her this letter.
Messenger takes letter from his breast and hands it to Nakakuni.

It is a great honour to receive this Imperial Order. [raises letter to face]
But may I enquire what manner of place is it?

The Emperor has heard only that it is a place with a single-doored gate.

Such humble houses have what are called single-doored gates.
As tonight is the fifteenth of the Eighth Month,
Lady Kogô is sure to play the koto.
I know well the sound
of her touch on the instrument,
so please reassure the Emperor.
Nakakuni bows to official and sings the next line out of character, as third person narrative, indicating the passage of time

NAKAKUNI (kakaru, tsuyoku, awazu)
kuwashiku môshi-agekereba.

kono yoshi sômon môshikereba
gyokan no amari katajikenaku mo
ryô no onma o tamawaru nari.



toki no mengoku kashikomatte

JI (age-uta, yowaku, au)
yagate izuru ya aki no yo no
yagate izuru ya aki no yo no
tsukige no koma yo kokoro-shite
kumoi ni kakere toki no ma mo
isogu kokoro no yukue kana
naka iri

 NAKAKUNI (kakaru)
When he had reported in detail...
The Messenger bows to the main stage to signify that the report has been made.

I have reported this matter to the Emperor,
and he is so very grateful
that he has given you a horse from the Imperial Stables.
Messenger gestures with fan to indicate the presentation of the horse. Nakakuni bows in gratitude.

This is a great honour.

CHORUS (age-uta)
He leaves at once as the autumn moon rises
He leaves at once as the autumn moon rises
"take heed, you moon-dappled roan,
and fly to the clouds without a moment's delay"
my heart is racing toward the destination
my heart is racing toward the destination
Exit Nakakuni




TSURE (sashi, yowaku, awazu)
Geni ya ichiju no kage ni yadori
ichiga no nagare o kumu koto mo
mina kore tashô no en zo kashi

akarasama naru koto nagara
narete hodo furu noki no kusa
shinobu tayori ni shizu no me no
me ni furenaruru
yo no narai
akanu wa hito no kokoro kana

JI (sage-uta)
iza iza saraba koto no ne ni tatetemo shinobu kono omoi
semete ya shibashi nagusamu to
semete ya shibashi nagasamu to
kakinasu koto no onozukara
akikaze ni tagueba naku mushi no koe mo kanashimi no
aki ya uramuru koi ya uki
nani o ka kuneru ominameshi
ware mo uki yo no saga no mi zo
hito ni kataru na kono arisama mo hazukashi ya

The interior of Kogô's house in Sagano. The Lady Kogô (tsure) enters with her attendant (tomo). In the interlude, the woman who has lent the house to Kogô urges her to play on the koto.

KOGÔ (sashi)
They say that even to take shelter under the same tree
or to drink from the water of the same river
is a tie from another life.

Although we came here for temporary refuge,
the grasses on the eaves have grown up while we have been here.
We have come to depend on this humble woman for companionship
growing fond of her as we become accustomed at her sight.
This is the way of the world.
And so is the heart of one who cannot forget.

CHORUS (sage-uta)
Come now, to comfort my feelings of longing I will play on the koto.
Comfort me, at least for a while,
Comfort me, at least for a while,
notes plucked on the koto.
You sound like the autumn wind, making the insects cry more piteously-do they hate the autumn?
Does he weary of me, that I am so wretched in my love?
Why are you sulking, you maidenflowers?
My fate here in Sagano is so miserable,
don't tell a soul, I would be so ashamed if anyone saw me.


NOCHIJITE (sashi, tsuyoku, awazu)
ara omoshiro no ori kara ya na [sung in a bright voice]
sangoyachû shingetsu no iro
jisen ri no hoka mo tôkaranu
eiryo kashikoki choku wo ukete
kokoro mo isamu koma no ashi nami
yoru no ayumi zo kokoro-se yo (yowaku)
oshika naku
kono yamazato to nagamekeru

JI (yowaku, kaete, au)
Sagano no kata no sora
sa koso kokoro mo sumi wataru kataorido wo shirube ni te
meigetsu ni muchi wo agete koma wo hayame isogan

shizuga ie no karinaredo

moshi ya to omoi koko kashiko ni
koma wo kake-yose kake-yosete hikae hikae kikedomo
koto hiku hito wa nakarikeri
tsuki ni ya akugare ide-tamô to
Hôrin ni maireba koto koso kikoe kinikere
mine no arashi ka forcefully
matsukaze ka sore ka aranu ka
tazunuru hito no koto no ne ka gaku wa
nani zo to kikitareba
otto wo omoite
kouru na no sôburen naru zo ureshiki slower towards end

SHITE (katari, tashika ni)
utagai mo naki Kogô no tsubone no onshirame ni te sôrô.
yagate annai wo môsôzuru nite sôrô.
betsu ni
ika ni kono to akesase tamae.

ta so ya kado ni hito oto no suru wa kokoroete kiki sôrae.

naka naka ni tokaku shinobaba ashikarinan to
mazu kono toboso wo oshi-hiraku

 To issei music, Nakakuni enters to first pine, dressed as before in hunting costume. He is understood to be riding a horse.
NAKAKUNI (sashi)
What a beautiful time this is.
"The radiance of the newly-risen full moon
appears close, though two thousand leagues away."
So far would I ride under the sovereign's gracious command.
My spirit moved, my horse gallops faster,
but take care as you go by night
to "the mountain village where the stag bells"

towards Sagano,
where the autumnal sky brightens, like my heart, I raise my whip to the bright moon that guides me to the single-doored gate.
Gallop faster, my horse!
Nakakuni looks across the stage, raising his whip.

These houses here are but humble, temporary abodes

but just in case I will ride closer here and there,
reining in my horse again and again to listen,
but no one is playing the koto.
Wondering if she has gone out, carried away by the moonlight,
I have come the Hôrin Temple to listen for the sound of the koto.
Is the storm on the mountain-tops that I hear
or is it the wind through the pines?
Or is the sound of the koto of the one I seek?
What piece is it that she is playing?
"Sôburen",that is what is is called,
"Yearning thoughts of my husband"-oh joy.

NAKAKUNI (katari)
There is no doubt that is Lady Kogo's way of playing.
I'll ask admittance without further delay.
standing in front of the door
Excuse me! Please open this door.

Someone is calling from the gate. Go and see who it is, but take care.

To pretend we did not hear would be worse still.
(And she pushes the door open. ) third person narration

kado sasarete wa kanômaji to forceful reply
toboso wo osae emphatic
kakaru, yowa, awazu

kore wa senji no on-tsukai
Nakakuni kore made mairitari
sono yoshi môshi tamôbeshi

utsutu na ya kakaru iyashiki shizuga ya ni
nani no senji no sôrôbeki
kadotagae nite mashimasu ka

iya ika ni tsutsumase-tamô tomo with emphasis
hitome-zutsumi mo more-izuru
kakaru, yowaku, awazu
sode no namida no tama koto no shirame wa kakure naki mono wo

ge ni hazukashi ya Nakakuni wa
denjô no gyoyu no oriori wa

fue tsukamatsure to meshi-idasarete

nareshi kumoi no tsuki mo kawarazu

Hito mo toi-kite ai ni au
sono ito take no yoru no koe

It would not do if this gate were locked
(he thought and held the door open). third person narration

This is the Imperial Messenger
Nakakuni who has come this far
to deliver a message to your mistress.

Can this be true? What kind of imperial command
could be intended for this mean and humble house?
You must surely have come to the wrong door.

I have not. However you may try to hide from men's eyes,
you cannot stop things leaking out,
like teardrops from a sleeve, your koto playing could not be hidden.

Truely, I am ashamed, Nakakuni.
Many times at concerts at the Palace-

I would have the honour of playing the flute.

The moon familiar to us then was like that today.

To meet the very person who would visit
when string and bamboo in harmony spoke by night--

 JI sage-uta, yowaku, kaete, au
hisoka ni tsutae môse to no
chokujô o ba nani to sa wa
hedate-tamô ya nakagaki no
mugura ga shita ni yoshi saraba
koyoi wa katashiki no
sode furete tsuki ni akasan
tokoro o shiru mo saga no yama slower
tokoro o shiru mo saga no yama normal speed
miyuki taenishi ato nagara
chiyo no furumichi tadori koshi
yukue mo kimi no megumi zo to
fukaki nasuke no iroka o mo
shiru hito nomi zo hana tori no
ne ni dani tate yo azumaya no
aruji wa isa shirazu
shirabe wa kakure yo mo araji
 CHORUS sage-uta
"Give this message to her secretly"
was the imperial command to me
and yet why is there such a barrier between us?
The grasses under this hedgewill be fine.
Tonight I will spread out one sleeve
and lie gazing at the moon until dawn.
This is the place,the mountains of Sagano,
This is the place,the mountains of Sagano,
where the ancient imperial hunt has left its traces still-
on the road a thousand generations old that has brought me here
and that will bring you back to the Emperor's love.
There is but one person who knows the depth of his passion,
who understands blossoms' colour and fragrance, the song of birds.
Strike up at least that tune and let me in.
I know little of the mistress of this Eastern Cottage
but her way of playing cannot be disguised.

Nakakuni onme ni katarazaran hodo wa kaerumajiki tote
ano shibagaki no moto ni tsuyu ni shioreteon-iri-sôrô
kakaru, yowa, awazu
chokujô to môshi itawashisa to ii
nan to ka shinobase tamôbeki
konata e ya ire mairase-sôrawan

Geni geni ware mo sayô ni wa omoedomo
kakaru, yowaku, awazu
amari no koto no kokoro midare ni
mi no okidokoro mo shiranedomo
saraba konata e to môshi sôrae

saraba konata e on'iri sorae

kashikomatte sôrô

Nakakuni says "Unless I see her, I may not return."
He is waiting drenched by the dew under the brushwood fence

It is an imperial order, and I feel sorry for him, too.
Must you really hide like this?
Do let me bring him in.

What you say is true. I feel the same,

yet so many things trouble me
that I do not know what to do.
But tell him to enter.
Lady in waiting stands up, goes to gate, and speakes to Nakakuni.

Please come in this way.
She opens door for him, then returns to sit in the same place.

I thank you.

 SHITE betsu ni
chokujô ni makase kore made kitarite sôrô
sate mo kayô ni narase-tamaite nochi wa
gyokutai otoroe eiryo nayamashiku miesase-tamaite sôrô
semete no on-koto ni on-yukue o tazunete maire to no senji o kômuri
katejikenaku mo gosho o tamawatte kore made mochite mairite sôrô
kakaru, yowaku, awazu
osorenagara jiki no on-penji o tamawarite
sôshi môshi sôrawan

moto yori mo katajikenakarishi on-megumi
oyobinaki mi no yukue made mo
tanomu kokoro no mizuguki no
ato sae fukaki onnasuke

JI sage-uta, kaete, au
kawaranu kage wa kumoi yori
nao nokoru mi no tsuyu no yo o
habakari no kokoro ni mo
tou koso namida narikere
kuri, awazu
ge ni ya toware zo
mi ni shiratama no onozukara
nagaraete uki toshi tsuki mo
ureshikarikeru sumai kana

TSURE sashi
tatoe o shiru mo kazu naranu
mi ni wa oyobanu koto naredomo

He enters main stage area and bows.
I have come this far in accordance with imperial order.
Let me tell you now what happened after you disappeared:
his Majesty was visibly weaker was in strength, and suffering from worry.
To learn where you were, at least, he commanded me go in search.
Although unworthy of the honour, I have come here bearing a letter from His Majesty
He hands letter to Kogô and bows.
Please be so good as to grant me with an immediate answer
that I may present to His Majesty.

Truely His Majesty has favoured me beyond my deserts,
in worrying about the whereabouts of one like me,
his deep compassion showing even in the traces of his writing brush.

The unchanging radiance from the heavenly palace
reaches even here where I preserve a dewlike existence
in hiding from the world.
It moves me to tears
kuri to be asked after like this.
My tears are like a string of white jewels
as I remember the gloomy months and years spent here,
yet now joy has come to this house.

KOGÔ (sashi)
There may have been instances of a love like this,
but it is far beyond one of no account like myself.

imose no michi wa hedate naki
kano kan'ô no sono mukashi
kansenden no yoru no omoi
taenu kokoro ya mune no hi no
kemuri no nokoru omokage mo

mishi wa hodo naki
aware no iro

nakanaka narishi
chigiri kana
tôtei no inishie mo
risankyû no sasamegoto
moreshi hajime o tazunuru ni
ada naru tsuyu no asajiu ya
sode ni kuchinishi aki no shimo
wasurenu yume o tou arashi no
kaze no tsute made mi ni shimeru
kokoro narikeri

hito no kuni made tomurai no

aware o shireba tsune narade
naki yo o omoi no kazukazu ni
amari warinaki koigokoro
mi o kudakitemo iyamashi no
renbo no midare naru to kaya
kore wa sasuga ni onaji yo no
tanomi mo ariake no
tsuki no miyako no hoka made mo
eiryo ni kakaru onmegumi
ito mo kashikoki choku nareba
yado wa to towarete nashi to wa ikaga kotaen

Nothing can change the love between man and woman.
Long ago in the Ganquan Palace
the Han Emperor yearned every night for Lady Li,
Though he had a glimpse of her in the incense smoke,
it failed to quench his heart-ache

He saw her only for an instant.
When love is so sad

it would be better
never to have exchanged vows at all.
kuse Likewise in ancient Tang we learn what it was
that revealed the whispered secrets
of the lovers of the Lishan Palace.
Yang Guifei was as short-lived as a dewdrop on the reeds
in the autumn frost that rotted the Emperor's sleeves.
He sent a messenger on the storm wind
in search of the dream he could not forget,
so deep was his love.

Such moving examples of other realms

teach us that nothing lasts.
All their thoughts were for those no longer of this world.
Their passion passed all bounds.
Griefstricken, the two emperors grew ever more
distraught in love-or so one hears.
But for us there is yet hope.
I still inhabit the same world as the Emperor,
and his concern and feeling for me reaches even this far,
where the moon rises outside the capital before dawn.
It is a very great honour to receive an Imperial Messanger.
How can I pretend that I do not live here?

 SHITE rongi
kore made nari ya saraba tote
jiki no o-henji tamawari
on-itoma môshi tachi izuru


tsuki ni tou
yadori wa kari no tsuyu no yo ni
kore ya kagiri no on-tsukai
omoide no nagori zo to
shitaite otsuru namida ka na

namida mo yoshi ya hoshiai no
ima wa mare naru naka nari to

tsui ni ôse wa

hodo araji
mukae no fune kuruma no
yagate koso mairame to
iedo nagori no kokoro tote

SHITE issei
shuen o nashite ito take no

koe sumiwataru
tsuki yo kana

tsuki yo yoshi

SHITE waka
kogarashi ni
fuki awasumeru
fue no ne o

JI noru
hiki todomebeki koto no ha mo nashi
koto no ha mo nashi koto no ha mo nashi

SHITE yowaku, yuttari
koto no ha mo naki
kimi no mikokoro

warera ga mi made mo mono omoi ni
tachi-môbeku mo aranu kokoro
ima wa kaerite ureshishisa o
nani ni tsutsuman
karakokomo yutaka nisode uchi awase on-itama môshi
isogu kokoro mo isameru koma ni
yurari to uchinori
kaeru sugata no ato harubaru to
Kogô wa miokuri Nakakuni wa
miyako e tote koso
Nakakuni makes bows towards Kogô. The Chorus now describes his departure in third person.

rongi Then I beg you, as it is already late,
to give me an answer by your own hand
so I may take my leave and return.
As Nakakuni sings these lines, Kogô places a letter on an opened fan and hands it to him.. Nakakuni returns to the gate, bows to Kogô by way of farewell, and puts the letter into the breast of his hunting costume.

You have visited me here by moonlight
where I have taken brief refuge in this dew-like world.
At the thought that no more messagers will come
I shed tears of regret
and longing for the past.
Kogô is downcast.

"Those tears will soon dry when you are together.
Now you are like the star lovers who can rarely meet,"

but a meeting is at last

CHORUS (first for NAKAKUNI, then narrative)
."..close at hand.
The carriage to bring you there
will be coming any moment,"
he said, so reluctant to part

NAKAKUNI (narrative)
he held a banquet and strings and bamboo

sounded clear across
the moon-lit night
"The moon-lit night is fine"
Nakakuni dances otokomai.

NAKAKUNI (for Kogô)
When the sound of the flute
and the autumn wind
blow together,

CHORUS (for Kogô)
what can I play to keep you here?
Nothing I say will keep you here, not a word.

There are no words to describe
how the Emperor will feel

CHORUS (for Nakakuni)
When even one such as myself is 'so moved
that I can hardly dance.'
How can I hide my joy
at going back now [that I have found you]?
Make the Chinese robe large!"
He takes his leave, joining sleeves together,
then quickly mounts
his high-spirited horse.
With Kogô watching as his figure
recedes in the distance
Nakakuni returned
to the capital.
At the cue "Kogô wa miokuri" ("With Kogô watching"), Kogô stands and sees Nakakuni off, then stamps the final beat.


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