pFMy’¦]U}%･Ži|:2ß&!ｱ¢{ê;÷à Ìk+UXòﾅcｽﾆ'k:i|–úª:i|;*,91 7œk,–(ﾉﾈƒ_ COE ±ｻü#UXıﾌ!;÷à ̱ｻü#ÌUXT}V– 2007 à 5 ž!pp. 103–128. Michael Watson, “Yōkyoku honyaku no rekishi” [The History of Nō Translation], in Nogami Kinen Hōsei Daigaku Nōgaku kenkyūjo [The Nogami Memorial Noh Theatre Research Institute of Hōsei University], ed., Nō no honyaku: bunka no honyaku wa ika ni shite kanō ka [The Translation of Nō: How Can Culture be Translated?], 21seiki COE Kokusai Nihon Kenkyū Sōsho 8, Hōsei daigaku Kokusai Nihongaku Kenkyū Sentā, May 2007, pp. 103–128.] ABSTRACT This paper attempts to put the well known collections of nō translations by Ezra Pound and Ernest Fenollosa (Certain Noble Plays, 1916; ‘NOH” Or Accomplishment, 1916) and Arthur Waley (The Nō Plays of Japan, 1921) in the context of the work by other early translators of nō into English, German, and French: Basil Hall Chamberlain (1850–1935) dQy’c\y’XG}dz} Colin Campbell Clements (1894–1948) Nx}’Kt}my’Lzs}Z Friedrich Wilhelm Karl Müller (1863–1930) ix\^xf’Eylyr’J\y’qu\w\ Frederick Victor Dickins (1838–1915) iz¥xYL’V’¥EK}S Karl Florenz (1865–1939) J\y’i{z}Z Noël Péri (1865–1922) bHy’nx\ Frank Brinkley (1841–1912) iw}L’jx}Lx\ Marie C. Stopes (1880–1958) px\’R]\kR George Sansom (1883–1965) Qv\Q’O}Ur Passages from the following plays are compared: Ikkaku sennin (‘x†‒), Kumasaka (B¹), Hashi Benkei (.ãï), Ataka (ÎÍ), Sumidagawa (ｹLÜ). The paper ends with a timeline of nō translations [･Ži|àt] covering the years 1880–2005 (pp. 119–125).