Sotoba Komachi

Much of the strength of the play derives from the variety provided by the three main and distinct sections: lament for lost beauty; witty religious debate; and ghostly possession.[3]

The play begins with an encounter between two priests and an old beggar-woman, lamenting how she was “lovelier than the petals of the wild-rose open-stretched / In the hour before its fall. / But now I am grown loathsome even to sluts”.[4] She later admits that she is the famed waka poet Ono no Komachi.

Because she is seated on a Buddhist stupa, a holy marker, she is challenged by the priests for creating bad karma, but in a witty debate uses Zen-like sophistries to defeat them:[5] “Nothing is real. Between Buddha and Man is no distinction”.[6]

The priests then lament in turn her loss of beauty; before in the final sequence she is possessed by the angry ghost of a former suitor, Shōshō of Fukakusa. He had been tasked with visiting Komachi for 100 nights in order to earn her love, but had died on the penultimate one; and his acting out of his cruelly thwarted struggles to win her love brings the play to a dramatic close, with Komachi then seeking for enlightenment and release.[7]

• Bashō in his late renga ‘The Summer Moon’ wrote: “In this fleeting world no one can escape/ The destiny of that famed poetess Komachi”.[8]

• Arthur Waley moved his future wife to tears by reading from his translation of the play: “Like a root-cut reed,/ Should the tide entice,/ I would come, I think; but now/ No wave asks; no stream stirs”.[9]

• Kayoi Komachi
• Sekidera Komachi
• Sotoba Komachi (Mishima)

• Sotoba Komachi Synopsis