In this study the authors show how Yeats's view of Noh drama was coloured not only by his own preconceived ideas of the art form, but also by the Fenellosa/Pound `translations' which had formed the medium through which he came to various Noh plays. As is shown in this study, the translations are not only inaccurate but the plays themselves have been edited, significantly changing their meaning. They also compare Yeats's Noh-influenced plays with Noh drama.