Page:Brinkley - Japan - Volume 3.djvu/50

Rh underwent popularisation, and without losing its moral character, received an extension of motive, becoming an adjunct of congratulatory or commemorative occasions and even a pure diversion. With this change is associated a skilled performer (Yusaki) upon whom Yoshimitsu conferred the name Kwanami. This man, as well as his son Seami, compiled several dramas based upon historical incidents of the Kamakura epoch, though the two writers carefully refrained from seeking materials in the events of their own time. Buddhist priests also continued to contribute to the literature of the art, and before the end of the fifteenth century some twenty dramas were regarded as the classics of the Nô. That prince of dilettante, Yoshimasa, who has already been seen extending lavish patronage to the tea cult, the incense cult, the landscape-garden cult and art in every form, gave a new impetus to the Nô by officially declaring it a ceremonious accomplishment of military men. He organised the renowned dancers into four orders, and enacted that a representative of each must repair to Kyōtō and give a performance there once during his career. Naturally that performance became the culmination of each great expert's triumph, and the "once-in-a-life Nô" were conducted on a conspicuously magnificent scale. The Taikō loved the Nô. Several of the best dramas were written