Zeami's aesthetics

Zeami talks about Noh containing five different aesthetic features.  These include monomane, hana, kokoro, yugen, and rojaku.  Monomane is about imitation of the object or the character.  In most cases I believe it is to do impressions of other famous Japanese people.  Hana means the flower.  How does the flower bloom, or how do we achieve the flower?  It is through the relationship or interaction between the actor and the audience.  What the actor does on stage for the audience and what the audience feels becomes one, and that is how the flower forms.  This is the very objective of Noh training.  The hana can be compared to Rasa and Bahava.  Kokoro means true heart.  It is mind and body wise, and the conscious and subconscious.  It is the purest sense of you as a human being.  It is to be naked or to be raw down to your soul, spirit, and consciousness.  It is also what configures in making the Hana bloom.  Yugen means mysterious beauty.  While watching Noh they say that you can either be more foucsed on the kokoro or on the yugen, but they are usually contrasting.  Yugen is identified in a more literal sense.  It is always hidden or underneath, and it involves the audience because they have to participate and search for it.  Rojaku is about the beauty and elegance of old age.  This refers to when a character is old, but they were once a solider or a beautiful princess, but cannot lean on their valor or elegance anymore.  It is that character's greatest challenge to achieve that beauty when they are now old and decrepit.  It is a very crucial challenge to be able to elicit beauty from old age.
     Zeami talks about these five elements being present in Noh performances.  This goes back to reflect on the fact that Zeami had schooling and was a philosophy student.  I think that it is his educational background that made him seek to include these elements in Noh.  It makes for a deeper performance, and draws the audience in, engaging them, allowing them to search for these hidden elements.