Hagoromo 羽衣 is one of the most well-known Noh plays, even outside Japan, thanks to its simple folk-tale-based plot and spectacular dance scene. You do not need to have read the Genji or brushed up on Taira-Minamoto history to enjoy the story, which goes: Fisherman finds titular feathered robes. Celestial maiden appears, asks him to give it back to her. He refuses. She laments. He relents. She dances. (Here are some sketches.)

To be fair to the work, though, its popularity doesn't derive entirely from its simplicity. Hagoromo also contains one of the most famous exchanges in all of Noh.

It comes just after the fisherman decides to give the celestial maiden her feathered robes back after all. I'll give them to you, he says, but only if you dance for me first. Fantastic, she says, sure, let me show this human world how it's done. There's a great dance we do around the moon that I'd be happy to re-enact here for all you suffering folks down here. Only thing is, I can't dance without the robe, so please give that back first. He's skeptical: "No; if I just give this robe back, you won't dance; you'll go straight up to heaven" (いや此衣をかへしなば。舞曲をなさで其ままに。天にやあがり給ふべき). To which she replies:

いや疑は人間にあり。天に偽なきものを。

Here are four English translations of this line, in chronological order:

1. Chamberlain (1880): "Fie on thee! The pledge of mortals may be doubted, but in heavenly beings there is no falsehood."
2. Pound/Fenollosa (1916): "Doubt is fitting for mortals; with us there is no deceit."
3. Waley (1922): "No, no. Doubt is for mortals;/ In heaven is no deceit."
4. Tyler (1978): "No, suspicion's for the human realm; in Heaven there's no falsehood."

As is often the case, the ideal translator can be projected to lie somewhere between Waley and Tyler. Waley's "Doubt is for mortals" is a superbly pithy formulation, but wilts under close inspection (the fisherman is a mortal). Tyler's "Suspicion's for the human realm" makes the intended meaning of 人間 much clearer: the world of humans, rather than humans themselves. This is important because the play is about this world: the fisherman sings of wild coastal beauty at the beginning, but the Celestial Maiden is horrified at the idea that she might actually have to live there.

On the gripping hand, Tyler's use of "human" here strikes a false note for me. "Humans" meet celestial beings in sf. In fantasy, the celestial beings deal with Waley's "mortals." (I also prefer the doubt/deceit dyad to suspicion/falsehood, but I suspect I may be well into the wilds of taste by that point.)

Special mention for P/F's "with us," which gives the line an eerie, alien character. Chamberlain's version has little to recommend it, although that "Fie on thee!" is an interesting feudal flare-up: it isn't like the "fairy" (as he calls her) has the upper hand at this point, viewed objectively.

This line is allegedly borrowed from an exchange in the Tango (no kuni) fudoki 丹後國風土記 version of the Hagoromo myth:

「凡天人之志、以信為本。何多疑心、不許衣裳？」
「多疑無信、率土之常。」

"All celestial beings strive to make faith the basis of their actions. How many-doubted is your heart, that you will not give back my robe?" "Many doubts, no faith: Welcome to Earth, baby." (But he gives it back in the end.)

Bonus Hagoromo link: Pound scholar Peter Makin published a poem by the same name in Shearsman 62. Here's some commentary too.