The earliest recorded version of the legend dates to the eighth century.[3] The play however apparently combines two legends, one concerning the origins of the Suruga Dance (Suruga-mai) and another the descent of an angel onto Udo Beach. A parallel story may also be found in the 14th volume of the fifth-centurySou-shen chi. A poem by the 11th century poetNōin is quoted.
The authorship of the Noh playHagoromo is unknown.[2] The earliest references to the play in historical records date to 1524, which suggests that it was written well afterZeami's time.[2]
A fisherman is walking with his companions at night when he finds the Hagoromo, the magical feather-mantle of atennin (an aerial spirit or celestial dancer) hanging on a bough. Thetennin sees him taking it and demands its return—she cannot return to Heaven without it. The fisherman argues with her, and finally promises to return it, if she will show him her dance or part of it. She accepts his offer. The Chorus explains the dance as symbolic of the daily changes of the moon. The words about "three, five, and fifteen" refer to the number of nights in the moon's changes. In the finale, thetennin disappears like a mountain slowly hidden in mist.[5][6][7]
An abridged version of the plot of play is attested inGerman, with the nameDas Federkleid, inJapanische Märchen und Sagen (1885).[9] An English translation exists in the bookGreen Willow; and other Japanese fairy tales, with the nameThe Robe of Feathers.[10]
A literary treatment of the play was given asThe Fisherman and the Moon-Maiden inJapanese Fairy World (1880).[11] Another version exists with the nameThe Angel's Robe.[12]
^Young, Serinity. "Gender and Sexuality: Reading Females, Males and Other in Asian Folktales". In:A Cultural History of Fairy Tales in Antiquity. Vol. 1 – Antiquity (500 BCE to 800 CE). London:Bloomsbury Academic, 2021. pp. 62-63.
^Pound, Ezra."Noh", Or, Accomplishment: A Study of the Classical Stage of Japan. Macmillan (1916),p165.This article incorporates text from this source, which is in thepublic domain.
^Clouston, W. A.Popular tales and fictions: their migrations and transformations. Edinburgh; London: W. Blackwood. 1887. p. 190-191.
^Iwao, Seiichi; Sakamato, Tarō; Hōgetsu, Keigo; Yoshikawa, Itsuji; Akiyama, Terukazu; Iyanaga, Teizō; Iyanaga, Shôkichi; Matsubara, Hideichi; Kanazawa, Shizue (1981)."Hagoromo densetsu".Dictionnaire historique du Japon Année. Vol. 7. pp. 9–10.
^Murphy, Maureen. "Some Western Productions ofAt the Hawk's Well, with a Mythological Footnote". InTumult of Images: Essays on W.B. Yeats and Politics (ed. Peter Liebregts and Peter van de Kamp).Rodopi (1995),p71.ISBN90-5183-771-2.
^Brauns, David.Japanische Märchen und Sagen. Leipzig: Verlag von Wilhelm Friedrich. 1885. pp. 349-350.
^James, Grace; Goble, Warwick, Ill.Green Willow and other Japanese fairy tales. London: Macmillan and Co. 1910. pp. 142-147.
^Griffis, William Elliot.Japanese Fairy World: Stories from the Wonder-lore of Japan. J. H. Barhyte. 1880. pp. 264-272.
^Nixon-Roulet, Mary F.Japanese folk stories and fairy tales. New York, Cincinnati [etc.] American book company. 1908. pp. 46-49.
^Drazen, Patrick.Anime Explosion!: The What? Why? & Wow! of Japanese Animation. Stone Bridge Press (2003),p41.ISBN1-880656-72-8.
Miller, Alan L. (1987). "Of Weavers and Birds: Structure and Symbol in Japanese Myth and Folktale".History of Religions.26 (3):309–327.doi:10.1086/463082.JSTOR1062378.S2CID161301399.
Petkova, G (2009). "Propp and the Japanese folklore: applying morphological parsing to answer questions concerning the specifics of the Japanese fairy tale".Asiatische Studien/Études Asiatiques.63 (3):597–618.doi:10.5167/uzh-23802.
