[1] I substitute 'strange' for 'distanced.' McFarlane uses the word 'strangeness' in this passage. 'Strange' has more layers of meaning than 'distanced' and is more relevant to what Yeats set out to achieve.

[2] Nishikigi, for instance (one of the plays translated by Fenollosa which compares closely with The Dreaming of The Bones) concerns the spirits of two lovers who were never united in life and roam the earth discontented until a priest marries them and puts them at rest. Yeats shared the belief that restless spirits haunted the places where they used to live.

[3] Michio Ito, who played the Guardian of the Well in Hawk's Well, was not a Noh dancer and had come to Europe from Japan to learn contemporary European dance.

[4] Yeats's musicians/chorus totalled 3 as opposed to the 8 man chorus plus 4 musicians of the Noh.

[5] One of the plays translated by Fenollosa.

[6] See the address to The Rhymers Club in poem 113, "But never made a poorer song/That you might have a heavier purse," the onion sellers in poem 114, and the greasy till in 115.

[7] This setting echoed the Noh which was traditionally performed at the house of the Shogun.

[8] Martin cites Yeats's use of the Noh as having difficult political connotations. It implied imposing another culture on top of Irish culture, which he was supposed to be freeing from British culture (xvii).

[9] Yeats subscribed to Pater's notion that all art should aspire to the condition of music.

[10] At one point Yeats wished to hold a rehearsal with the actors in barrels so they could concentrate on their voices.