能のあらすじ・見どころ Summary and Highlights of Noh Hyakuman English
Summary
A villager and a child have arrived at Seiryō-ji Temple in Sagano, Kyoto. The villager found the child in the area around Saidai-ji Temple in Nara and brought him here. This sacred place is famous for its statue of Buddha, and for the ritual recitation of the nenbutsu (a prayer). The villager asks a temple servant if he has anything that can entertain the child. The man starts chanting the nenbutsu in an amusing manner. He hopes to attract a madwoman called Hyakuman, who has recently been appearing at the Great Nembutsu ritual they hold there. Upon hearing the servant's chant the madwoman appears, takes the lead of the chanting, and dances to it.
Having been separated from her own son, Hyakuman is distraught by her grief and prays to be reunited with him. At that moment, the child realises that this is in fact her own mother. When the villager asks her about him, she expresses how much she misses him. She then chants and dances about the wandering days that led her to where she is now. Finally, she offers a dance to Buddha, praying to find her child soon.
Many people have gathered at Seiryō-ji, but Hyakuman’s son is nowhere to be seen. She faces the statue of Buddha and prays. The villager finally presents the child to Hyakuman. Although she expresses her resentment as to why he did not come forward immediately, she weeps at the reunion with her longed-for child. The two, who could meet again thanks to the sacred effigy preserved in this temple, return home together.
Highlights
This play is about a mother who becomes distraught after being separated from her child. This is a recurring trope in nō plays. In most cases, the parent is reunited with her son. This play, set at the famous Seiryōji Temple of Sagano (northwest Kyoto) in spring celebrates the happy reunion of parent and child thanks to the miraculous power of Buddha. An ancient statue of Shakyamuni, which is said to have been brought to Japan from the continent, is preserved at this temple. Since ancient times, people from all walks of life have gathered here to worship this sacred effigy. In addition, they would join the Great Nenbutsu ritual, a form of collective prayer.
It is thought that a performer known as Hyakuman once existed, and was active in the Nara area, from which the character in the play comes from. Kan’ami (1333̀–1384), one of the first nō playwrights of which we have historical records, was known for his “imitation of the madwoman at Saga’s Great Nenbutsu,” which his son, Zeami (1363–1443) incorporated in the play Hyakuman.