Page:Anthology of Japanese Literature.pdf/263

Rh end or at intervals between the dialogue and the different types of miming, but maintains an unwavering inner strength. This feeling of inner strength will faintly reveal itself and bring enjoyment. However, it is undesirable for the actor to permit this inner strength to become obvious to the audience. If it is obvious, it becomes an act, and is no longer “no action.” The actions before and after an interval of “no action” must be linked by entering the state of mindlessness in which the actor conceals even from himself his own intent. The ability to move audiences depends, thus, on linking all the artistic powers with one mind.

This is a metaphor describing human life as it transmigrates between life and death. Marionettes on a stage appear to move in various ways, but in fact it is not they who really move—they are manipulated by strings. When these strings are broken, the marionettes fall and are dashed to pieces. In the art of the Nō too, the different types of miming are artificial things. What holds the parts together is the mind. This mind must not be disclosed to the audience. If it is seen, it is just as if a marionette’s strings were visible. The mind must be made the strings which hold together all the powers of the art. If this is done the actor’s talent will endure. This effort must not be confined to the times when the actor is appearing on the stage: day or night, wherever he may be, whatever he may be doing, he should not forget it, but should make it his constant guide, uniting all his powers. If he persistently strives to perfect this, his talent will steadily grow. This article is the most secret of the secret teachings.