足利義教
After Ashikaga Yoshinori became the Shōgun, he demonstrated a deeper disdain for Zeami than his predecessors had, though the origins of his feelings are unknown. Speculation has centered on Zeami's association with Masashige and the theory that Zeami was a restorationist. In 1967, the Kanze-Fukudu genealogy was found and gave credence to the idea that politics contributed to Yoshinori's treatment of Zeami. The genealogy showed that a brother of Zeami's mother was a supporter of the southern court against the Ashikaga Shogunate. Yoshinori is sometimes seen as eccentric, and it has been speculated that he punished Zeami because he did not enjoy his performances. (Yoshinori preferred colorful plays that involved actor portraying demons; these types of plays were seldom found in Zeami's repertoire.) Yoshinori, who enjoyed Monomane, preferred Onnami, as his performances included demons. Zeami had been close with his Onnami and they had performed together. Zeami had been unsure whether any of his sons would be able to lead the troupe after his death, so he paid special attention to Onnami's development. Motomasa, however, began to lead the troupe in 1429. That year, though Motomasa and Onnami each performed for Yoshinori during a 10-day festival Yoshinori forbade Zeami to appear at the Sentō Imperial Palace, possibly due to his refusal to provide Onnami with his complete writings. The next year, the music directorship of the Kiyotaki shrine was transferred from Motomasa to Onnami. That year Zeami's son Motoyoshi retired from acting to serve as a Buddhist priest. That same year Motomasa died; it has been speculated that he was murdered. Though he had lost political favor, Zeami continued to write prolifically.