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Color Insert The Kawara-no-in (Riverside Villa) of the courtier Minamoto no Tōru (822–895) figures prominently in tenth-century Japanese literary texts as both a site of elegant play and as a ruined garden redolent of bygone glories. A century after Tōru&apos;s death, the villa assumes a malevolent aspect in popular narratives, and Tōru reappears as an angry ghost who threatens visitors sexually and politically. This paper examines how and why <i>nō</i> playwrights originally incorporated both positive and negative views of the Kawara-no-in in early plays about Tōru and his garden, but eventually suppressed the sinister side, arguably to present a more positive depiction of the politically powerful Minamoto family and of aristocratic culture in general. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2010 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

The Kawara-no-in (Riverside Villa) of the courtier Minamoto no Tōru (822–895) figures prominently in tenth-century Japanese literary texts as both a site of elegant play and as a ruined garden redolent of bygone glories. A century after Tōru&apos;s death, the villa assumes a malevolent aspect in popular narratives, and Tōru reappears as an angry ghost who threatens visitors sexually and politically. This paper examines how and why <i>nō</i> playwrights originally incorporated both positive and negative views of the Kawara-no-in in early plays about Tōru and his garden, but eventually suppressed the sinister side, arguably to present a more positive depiction of the politically powerful Minamoto family and of aristocratic culture in general.

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Aug 11, 2010

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