Substance and Function

One must know the elements of Substance and Function in the noh. If Substance can be compared to a flower, then Function can be compared to its odor. The moon and its light make a similar comparison. If the concept of Substance is fully understood, then the nature of Function will be naturally comprehensible of itself. When it comes to observing the noh, those who truly understand the art watch it with the spirit, while those who do not merely watch it with their eyes. To see with the spirit is to grasp the Function. Thus it is that beginning actors merely grasp the Function and try to imitate that. Although they do not understand the real principle of Function (that is, the fact that it derives from Substance), they attempt to copy it. Yet function cannot be imitated. Those who truly understand the noh, since they grasp it with their spirit, are able to imitate its Substance. Thus in a performance, Function comes of itself from a successful attempt to assimilate Substance. (...) Substance and Function may seem to represent two independent elements. But in fact, without Substance there can be no Function. Therefore, there are no means with wich to imitate it directly. (...) One must understand that is precisely by attempting to reproduce Substance that the actor can manage to create naturally the appropriate Function. To repeat again, if one truly comes to understand the principle that the imitation of Function cannot become an end in itself, he will evolve into an actor able to truly grasp this crucial distinction between the two. It has been said that "everyone wishes to resemble a master actor, yet no one should try to imitate him". Here, imitation refers to Fuction, resemblance to Substance. In previous times, such attention was not given to these various theoretical terms. Among those performing before, in the older style, however, there were quitea few who managed of themselves to gain high artistic power. At that time, the nobility and the people of high rank took note only of what was good in various performances, but they didnot make it a point to observe the defects. These days, however, their eyes are highly skilled and so audiences have come to observe even the slightest fault, so that if a presentation is not as elegant as a polished gem or a bouquet of flowers, it cannot meet the expectations of a cultured group of spectators. Therefore, there are few artists who are considered to have attained the highest level of success. Because the noh is entering into a period of decline, I am concerned that if our training loses itr rigor, our art will cease to be, and it is for this reason that I have written here an outline of my own understanding of our art. As for the rest, it will depend on the intelligence and artistic skills of the individual actor and should be transmitted directly through oral teaching. Oe 27, (1420) the Sixth Month Zeami