translations are grounded in a critical discussion of the Nohtheatre, its history and place in the court life of Japan, adescription of the stage on which it is performed, its music, costumes,and masks, and the dance which is usually the high point of theperformance. Both Pound and Fenollosa discuss the special elements ofNoh poetry, and Pound's poetic organization of Fenollosa'sauthoritative translation and notes creates a fortunate collaboration.

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