Abstract
YEATS'S BORROWINGS from the structure and spirit of the ancient Japanese Noh drama are recognized and regularly subjected to comment and analysis. His indebtedness to Noh's stark structure, its economy of scenery, its minimum of actors, and its underscoring of intense emotions by a few musical instruments for the development of a unique, indirect, and symbolic form of drama, exemplified in his Four Plays for Dancers, has not been overlooked. Yeats's proscription of all unnecessary acting; his use of mask, song, and dance; his delving into the life of the soul, and the images of his verse form are all Noh influences that have been duly weighed and evaluated. Relatively little attention, however, has been given to the poet's perception of language values in the Noh and his appropriation of specific devices such as the sustained metaphor. Yet, Yeats is particularly indebted to Noh for the dominant image which gives unity to his drama.
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