In the final analysis, the difference between Zeami's notion of freedom and those of Western theories which we considered may reduce to the question of what we understand to be the "true self" of a person. If Zeami's description of "the matured rank" or "no-mind" is an indication of what the "true self" of a person is, which he seems to be implying, theories of freedom are closely connected with the problem of discovering what is the "true self". This has rightly been pointed out by Frithojof Bergmann in his book, On Being Free54 The major difference between most Western theorists and the theory advanced by Zeami lies, respectively, in the difference between "true self understood in terms of a one-dimensional plane of everyday experience and "true self" understood in terms of a multidimensional structure of human experience. Aristotle's "identification" of a "true self," to use Bergmann's term,55 is clearly one-dimensional, and this is likewise true of the reconciliationists. Moreover, Kant's empirical self, as the "true self," is clearly one-dimensional. In sharp contrast to these, Zeami recognized, as a consequence of the practical, experiential fact, that an actor, in the process of appropriation qua imitation, undergoes a transformation from the everyday mode of experience to the non-everyday mode of experience.

If we interpret Zeami in this manner, his contention would be that the "true self" of a person is that which is disclosed after a person goes through rigorous, cumulative training. Thus, the "true self* of a person, according to Zeami, is an embodiment and expression of freedom of action as well as that of mind. As Zeami insisted throughout his works, this cannot be achieved by an intellectual understanding, but only through the training that is the appropriation qua imitation. Zeami's notion of freedom thus carries with it the metaphysical implication that the "true self" is attainable if and only if a person undertakes an existential project of correcting one's modality of consciousness by imposing upon himself a disciplined way of putting one's
　

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body into a "form," whether it be through meditation or the training of martial arts. The general term that includes the art of the Noh drama is called "the way of artistry" [gei-dōac]. "The way" (dō) in this word means a guiding path that leads a person to the attainment of the "true self."

NOTES
　

1. Aristotle. Nichomachean Ethics. Richard McKeon, ed., in The Basic Works of Aristotle (New York: Random House. 1949), p. 963 [11109 b].

2. Ibid., p, 967 [I 111 a].[Back]

3. Ibid., p. 964 [1110 a].[Back]

4. Ibid.. p. 966 [1 i 10 a],[Back]

5. De Benedict Spinoza, Ethics, trans. R. H. M. Elwes (New York: Harper & Row Publishers, 1966), p. 3.[Back]

6. Stuart Hampshire. "Spinoza and the Idea of Freedom," in Studies in Spinoza: Critical and Interpretive Essays, ed. Paul Kashap (Berkeley and Los Angeles, California: University of California Press. 1974). p. 311.[Back]

7. Spinoza. Part V. Prop. XV.[Back]

8. Spinoza. Part V. Prop, XVI, Proof.[Back]

9. Spinoza. Part V, Prop. XX. Proof.[Back]

10. Spinoza, Part V, Prop. XXXII. [Back]

11. Spinoza, Part V. Prop. XXXXVI, Note.[Back]

12. Immanuel Kant. Critique of Pure Reason, trans. Norman E. Smith (New York: St. Martin's Press, 1965),p.29(Bxxx).[Back]

13. Ibid., p. 28 [Bxxviii] [Back]

14. Ibid..p.464[A533/B561],[Back]

15. Ibid., p. 467 [A537/B565].[Back]

16. Moritz Schlick, "When Is A Man Responsible?" in Free Will and Determinism, ed. Bernard Berofsky (New York: Harper & Row Publishers. 1966), p. 57.[Back]

17. Ibid. [Back]

18. Yuasa Yasuo. Shinlai: Tōyōreki .shinshinron no kokoromi [Body: Toward an eastern theory of botiy-mmd} (Tokyo: sōbun-sha, 1976), p. 130.[Back]

19. Nose Asaji, Zeami jūrokuhu shū hvoshaku, vol. 1 [Commentary on Zeami's sixteen hooks]

(Tokyo: Iwanami-Shoten, 1963), pp. 102-103.[Back]

20. Ibid., p. 119.[Back]

21. Ibid., p. 103.[Back]

22. Ibid., p. 103.[Back]

23. The "form" [katachi] is the Japanese reading of the first character which makes up the compound, kaia-gi ["molding block"], in the immediately preceding quotation.[Back]

24. Nose, pp. 444-45.[Back]

25. Ibid.[Back]

26. Ibid., p. 445. [Back]

27. Ibid.. p. 227. [Back]

28. Ibid., p. 120. [Back]

29. Ibid., p. 120. This sentence is translated from another version (Yoshida-bon). The sentence in other versions reads: "principle of both blossoming and withering away should he in accord with the mind [of an actor]."[Back]

30. Ibid,, pp. 547-583.[Back]

31. Yuasa.p. 131.[Back]

32. Ibid., p. 130. [Back]

33. Nose. p. 120. [Back]
　

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34. Yuasa,p. 132. [Back]

35. Dōgen characterizes, in the fascicle of "'Zazen-shni'" in Shōhōgenzō, a mode of consciousness in the deep meditative stale as "thinking without thinking." But in view of his notion of "shin shin ichi nyo" [an identity of body-mind in action], "thinking without thinking" can be extended to cover the performance of a matured actor. See the note 36. herein. [Back]