Az Egri Ho Si Minh Tanárképző Főiskola Tud. Közleményei. 1979. (Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 15)

II. TANULMÁNYOK A NYELV-, AZ IRODALOMÉS - Bertha Csilla: A nó dráma yeatsi változata

[17] Székely György, A színjáték japán világa, Színház, 1978/10 37. Nem feladatunk e kérdés tisztázása itt, meg kell azonban jegyeznünk, hogy távolról sem csak európai elméletek eredeztetik a nót vallásos, rituális mozzanatokból. [18[ W. B. Yeats, Certain Noble Plays of Japan In: Essays and Introductions 225—6. [191 uo. 231. [20] uo. 234. [21] uo. 232. [22] W. B. Yeats, A Vision 222. [23] uo. 221. [24] Birgit Bjersby, The Interpretation of The Cuchulain Legend in the Works of W. B. Yeats (Upsala, 1950) 92-3. [25] Richard Ellmann, Yeats, The Man and the Masks (London, 1961) 218-9. [26] Reg Skene, The Cuchulain Plays of W. B. Yeats: A Study (London, 1974) 129-43. [27] Peter Ure, Yeats (Edinburgh, London, 1963) 93. [28] Helen H. Vendler, Yeats's Vision and the Later Plays (Cambridge, Mass

. . . 1963) 206. [29] Helen H. Vendler ezt úgy értelmezi, hogy Cuchulain bár bűvöletben, de megvetően elfordul az eseménytelen hétköznapi élet egyszerű meghosszabbítását jelentő kúttól, s inkább a sólyom követését választja, mert így kapcsolatba kerülvén a szellemi tartománnyal, intenzívebb életet élhet. Helen H. Vendler, i. m. 213-4. [30] |Reg Skene, i. m. 137. [31] Hiro Ishibashi, Yeats and the Noh: Types of Japanes Beauty and Their Reflection in Yeats's Plays (Dublin, 1966) 134-50 passim. [32] uo. 148. [33] uo. 144. [34] W. B. Yeats, At the Hawk's Well, Collected Plays (London, 1960) 218. [35] Vekerdy Tamás, A színészi hatás eszközei - Zeami mester művei szerint (Budapest, 1974) 240. [36] W. B. Yeats, A Vision 227. [37] Vekerdy Tamás, i. m. 36. [38] W. B. Yeats, Notes in Four Plays for Dancers 106. idézi: Akhtar Quamber, Yeats and the Noh (New York, Tokyo, 1974) 103. [39] W. B. Yeats, The Theatre, In: Essays and Introductions 166. [40] Babits Mihály, Költő, forradalom és heroizmus, Nyugat, 1935. XXVIII. I. 260. YEATS'S VERSION OF THE NOH DRAMA BY CSILLA BERTHA This study, after giving a brief introduction to Yeats's philosophical and aesthetical views, discusses a group of his plays written in the Japanese Noh fashion. Yeats found in this poetic, ritualistic, symbolic, and stylized form of drama a confirmation of his earlier ideas of tragedy, and a store-house of new technical devices, non-verbal means of expression, but modified it to suit his temperament and the needs of his country: to show up the examples of ancient heroism, courage, and nobility. The author, concentrating upon At the Hawk's Well, touches upon the nature of Yeats's symbolism and points out a few significant differences between the original Noh and Yeats's version, and claims that Yeats's drama is more passionate, tense, and dynamic than his model, which is based upon the philosophy of Zen-Buddhism. Yeats westernized this Eastern form of drama, and, in doing so, he was the first to endeavour to renew the European theatre with the help of an Eastern tradition. 261