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Aoi No Ue (Công N Ươ Ng Hoa Quì)

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Aoi No Ue (Công N Ươ Ng Hoa Quì) AOI NO UE (CÔNG N ƯƠ NG HOA QUÌ) Hành trình t ừ Nô c ổ điển đế n Nô c ận đạ i “S ống là cu ộc chi ến ch ống l ại nh ững bóng ma trong tâm h ồn” (Life is a contest with the phantoms of the mind). Henrik Ibsen (1828-1906) Nguy ễn Nam Trân kh ảo d ịch Rokujô v ới pháp s ư: khi tà ni ệm đố i đầ u đạ o lý Mục l ục: I - Aoi no Ue c ổ điển theo Zeami II - Aoi no Ue c ận đạ i theo Mishima III - Hành trình t ừ Nô c ổ điển đế n Nô c ận đạ i CVCN- Công n ươ ng Hoa Quì 1 Ph ần I : Aoi no Ue c ổ điển theo Zeami 1- Th ưởng th ức tu ồng Nô nh ư tác ph ẩm v ăn ch ươ ng: Nô là m ột v ở tu ồng, m ục đích c ủa nó là để được xem (trình di ễn, y trang, v ũ, phông cảnh, đạ o c ụ) và nghe (ca hát, nói l ối, đàn phách, kèn tr ống) ch ứ không ph ải để được đọc. Tuy nhiên, dù mu ốn dù không, k ịch b ản Nô t ự th ể đã là m ột tác ph ẩm v ăn h ọc đáng th ưởng ngo ạn, có th ể hàm d ưỡng tri th ức và gi ải t ỏa tình c ảm (catharsis) c ủa chúng ta vì nó g ắn li ền v ới ti ểu thuy ết, thi ca, tôn giáo, tri ết h ọc. Nguyên v ăn k ịch b ản tu ồng Nô (yôkyoku = dao khúc) đã được h ọc gi ả Donald Keene ví von v ới m ột b ức g ấm diêm dúa được d ệt b ằng nh ững t ấm l ụa s ắc màu r ực r ỡ 1. Th ật ông đã không nói quá l ời. Ch ỉ c ần đọc vở Nô ng ắn nh ư Aoi no Ue thôi, chúng ta đã có th ể th ưởng th ức giá tr ị c ủa m ột áng v ăn ch ươ ng súc tích. Nhà th ơ Ezra Pound 2, trong quy ển sách chung vi ết v ới Ernest Fenollosa 3, đã xem Nô nh ư m ột trong nh ững hình th ức ngh ệ thu ật sáng giá, sâu s ắc, uyên áo nh ất 4 c ủa th ế gi ới. N ữ s ĩ Shirasu Masako 5, ng ười theo đuổi Nô t ừ th ời th ơ ấu và su ốt đờ i ph ấn đấ u gìn gi ữ di s ản ngh ệ thu ật n ước nhà – c ũng t ỏ ra đồ ng cảm v ới Keene l ẫn Pound – khi xem Nô nh ư là n ơi k ết t ụ t ất c ả tinh hoa c ủa ngôn ng ữ Nh ật B ản t ừ tr ước đế n nay. Cốt truy ện c ủa Nô có th ể b ắt ngu ồn t ừ các tác ph ẩm v ăn ch ươ ng Trung Qu ốc nh ư Tr ường H ận Ca (806), s ự tích v ề Tây V ươ ng M ẫu, v ề Ban Ti ệp D ư, hay Nh ật B ản nh ư Truy ện Ise ( đầ u th ế k ỷ 10) Truy ện Genji ( đầ u th ế k ỷ 11), Truy ện Heike ( đầ u th ế k ỷ 13, 14), Gempei jôsuiki (Truy ện th ịnh suy c ủa hai nhà Genji và Heike, th ế k ỷ 13), Gikeiki (Truy ện chàng Yoshitsune, th ế k ỷ 14) vv...V ăn t ừ c ủa Nô đế n t ừ các bài tanka trong Man.yôshuu (V ạn Di ệp T ập, sau 759?), Kokinshuu (C ổ Kim T ập, 905), Shin Kokinshuu (Tân C ổ Kim T ập, 1206) hay Wakan Rôeishuu (Hoà Hán Lãng V ịnh T ập, 1013) 6. Điều đó khá d ễ hi ểu vì v ăn ch ươ ng c ủa tu ồng Nô g ần v ới th ơ h ơn là v ăn xuôi và nh ịp điệu 5-7 c ơ b ản c ủa nó d ễ b ắt phách v ới âm nh ạc. Trong các v ở Nô nói v ề ác qu ỉ ng ười ta l ại s ử d ụng Hán điệu t ức gi ọng v ăn c ứng cõi h ơn bình th ưởng, n ội dung có c ả kinh v ăn Th ần đạ o c ũng nh ư l ời nhà Ph ật t ừ Duy Ma Kinh, Quán Vô L ượng Th ọ Kinh, Ôjô Yôshuu (Vãng Sinh Y ếu T ập, 985) đế n nh ững bài tán (wasan) Ph ật giáo. Các so ạn gi ả Nô bi ết t ận d ụng các hình th ức tu t ừ đặ c bi ệt c ủa th ơ waka nh ư ch ữ trang trí (makurakotoba), ch ữ đồ ng âm d ị ngh ĩa (kakekotoba), ch ữ g ợi ý (jokotoba), ch ữ hô ứng (engo), đó là ch ưa k ể việc dao khúc Nô còn ch ứa đự ng bi ết bao thành ng ữ, điển cố, ca dao, t ục ng ữ. M ột ví d ụ nh ỏ v ề ch ữ đồ ng âm d ị ngh ĩa nói trên: b ến Futami còn 1 - Donald Keene, Yoshida Ken.ichi và Matsumiya Shirô d ịch, Nô, The Classical Theater of Japan, tr. 110. 2 - Ezra Loomis Pound (1885-1972), thi nhân M ỹ. 3 - Ernest Francisco Fenollosa (1853-1908), h ọc gi ả tri ết h ọc và đông ph ươ ng h ọc ng ười M ỹ, đế n Nh ật năm 1878, nguyên giáo s ư Đại h ọc Tôkyô. 4 - Ernest Fenollosa, Ezra Pound, 1917, The Noh Theatre of Japan, tr. 4. 5 - Shirasu Masako, 1995, Nô no Monogatari (C ốt truy ện tu ồng Nô), tr.10, tr. 236 6 - Royall Tyler, 1992, Japanese Nô Drama, Penguin Classics, Penguin Books, London, tr.4. CVCN- Công n ươ ng Hoa Quì 2 có ngh ĩa là B ến-tái-ng ộ, làng Nagamatsu còn có ngh ĩa Làng-ngóng-đợi, tên hai anh em nhân v ật Matsukaze và Murasame còn có ngh ĩa là Ng ọn-gió-tùng và Tr ận-mưa- rào vv... Ch ủ đề c ủa Nô c ũng là nh ững ch ủ đề l ớn c ủa v ăn h ọc và ph ản ánh hoàn c ảnh xã h ội, có th ể m ượn cách phân chia làm 6 lo ại theo Armen Godel và Kano Koichi 7 nh ư sau: 1- Ng ười đàn bà và tình yêu: chia ly và đợi ch ờ, lang thang (trong Hanjô), chia ly, đợi ch ờ, điên d ại, t ự sát (trong Matsuzake), đam mê, tình yêu c ấm đoán, yêu v ượt qua cái ch ết (trong Teika), chia ly, ch ờ đợ i, ghen tuông, u u ất và t ự sát (trong Kinuta), không ch ấp nh ận chia tay, ch ống đố i, ghen điên cu ồng, hành động sát nhân để tr ả thù (trong Aoi no Ue), ghen t ức, c ăm thù, tr ả thù tàn kh ốc (trong Kanawa)... 2- Tu ổi già: s ự suy s ụp c ủa nhan s ắc và thân xác, cái ch ết g ần k ề: (trong Obasute, Higaki, Sanemori, Sotoba Komachi)... 3- Khó kh ăn và kh ổ tâm trong tình yêu, hôn nhân: cha m ẹ ch ống đố i (trong Funabashi), b ị ng ười đẹ p t ừ kh ước (trong Nishikigi), ng ười con gái b ối r ối khi ph ải ch ọn l ựa (Motomezuka), ch ơi trèo khi yêu ng ười không cùng giai c ấp (trong Koi no Omoni)... 4- Sinh ly và trùng phùng: m ẹ tìm con b ị bán làm nô l ệ (trong Sumidagawa), cha g ặp đứ a con mình đã đuổi kh ỏi nhà (trong Yoboroshi), con tìm l ại được cha (trong Utaura), m ẹ nh ận ra xác con b ị m ẹ mìn hãm h ại (trong Take no yuki), ch ủ l ạc t ớ trong núi (Tanikô), cha m ẹ m ất con gái b ị b ắt làm v ật t ế thần (trong Ikeniye), m ẹ đòi n ợ máu đứa con b ị gi ết oan (trong Fujito), con gái tìm cha th ất l ạc h ồi còn nh ỏ (trong Kagekiyo)... 5- Chi ến tranh, chi ến tr ường và cái ch ết: ch ết gi ữa tu ổi thanh xuân (trong Atsumori), t ướng già mu ốn ch ết gi ữa sa tr ường (trong Sanemori), cái ch ết c ủa m ột tướng lãnh yêu th ơ (Tadanori), h ồn t ử s ĩ tìm v ề khuê phòng (trong Kiyotsune), h ận mình không được ch ết theo ch ủ t ướng (Tomoe) ... 6- Ước m ơ và kinh s ợ m ột th ế gi ới siêu hình: th ần linh xu ất hi ện (trong Kamo), tiên n ữ giáng tr ần (Hagoromo), ác qu ỉ hi ện hình (trong Kumasaka, Kurumazô).
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