CHAPTER XXIX

CONTEMPORARY KABUKI

The present condition of Kabuki is like that of an old temple within a walled garden, around which flows the modern life of a great city, where rages a conflict between two civilisations, that of Asia, and the other, largely commercial, imported from the West. Reformers believe that the temple is all out of date, and are seeking with conscious effort how best they can change the style of architecture.

Some there are who go boldly within the sacred precincts with pots of paint in order that the fading hues of the pictures beneath the curving roofs may be covered by a new design. It is not in their thoughts to restore the tarnished colours, but to destroy and make anew. Still others climb upon the walls and look with scorn upon the priests, calling them lazy, indifferent, and ignorant. And now and then some learned gentleman from the West enters with the worshippers on a festival day, and declares that he wonders what it is all about, while others, even more learned, proclaim in solemn tones that the temple is in decay, and in a few years it will fall with a crash, and so give way for a Western edifice to be built upon the ruins.

In spite of these dire pronouncements,—the rushing modern life outside, the ill-advised observers on the walls, the reformers who seek to destroy,—Kabuki still has its priests, the actors, and goes triumphantly on its way. Heedless of the critics they carry on, performing the old ceremonies, preserving the ancient traditions and conventions with all fidelity, yet turning their faces resolutely toward the future.

Three groups of actors now control the destiny of Tokyo Kabuki,—the companies attached to the Imperial Theatre, Kabuki-za, and Ichimura-za.

With the opening of the Imperial Theatre in 1911 a new force began to work in this shibai world. Not only did the Imperial draw audiences from the most representative citizens of the capital, but it became a centre for the entertainment of distinguished guests from overseas. Here, also, have been welcomed the musicians, actors, and dancers of many lands.

American and British touring companies have appeared at the Imperial. Prince Arthur of Connaught witnessed a play here, and the Prince of Wales, as the guest of the Mayor of Tokyo, attended performances with the Prince Regent. Enthusiastic audiences have applauded a score of Western musical celebrities at this theatre. Russian singers, dancers, and actors have been warmly received from time to time, and Madame Pavlova and her company performed for two weeks with great success. Here, also, the people of Tokyo have had the opportunity to listen to a repertoire of Italian grand opera. Mei Ran-fan, the popular actor of the Peking stage, also filled two engagements at the Imperial. Shakespeare’s plays have been performed by Japanese players, while new plays influenced by England and Europe are frequently presented.

Onoe Baiko, the sixth, is the head actor of the Imperial. His specialty is that of the onnagata, as is that of Nakamura Utayemon, the chief actor of the Kabuki-za. This is the first time in the history of Kabuki for two actors devoting themselves to female rôles to take such commanding places. In the old days the onnagata with becoming modesty was content with a lesser position among the yakusha.

Mansfield once wrote: “But who shall say when this generation has passed away how Yorick played?” In Japan, however, how Yorick played is known, for every actor of genius leaves his mark upon the son or pupil who succeeds him, and his style and type are handed down. Both Onoe Baiko and Nakamura Utayemon have sons who give evidence that they are worthy to preserve the type. Eisaburo, who serves as an understudy to Baiko, already closely resembles his father, while Nakamura Fukusuke seems to have inherited the elegance and grace of his parent and teacher, Utayemon. These two young men are the leaders among the younger onnagata and will no doubt uphold the honour of this specialty at a not distant period.

Baiko, following the traditions of the Onoe family, for he is the grandson of the third Kikugoro, and was adopted by the fifth, is clever in the weird, and never pleases so much as when he plays an unearthly woman, ghost, or demon. He is particularly successful as a woman of the people, but it is as a dancer that he has endeared himself to all Tokyo. The grace of his movements, the power of suggestion in his descriptive dances, fill all who witness them with admiration.

Next to Baiko comes the versatile Matsumoto Koshiro, the seventh. Without doubt Koshiro is the best-equipped yakusha in Japan. He is both a good actor and an accomplished dancer. Born in a provincial town, his father was a builder and contractor, and he might have missed his calling had not Fujima Kanyemon, the furitsuke, or dancing master of the Tokyo stage, taken such an interest in the child that he adopted him as his heir and successor.

Danjuro, the ninth, saw that the boy was better fitted to become an actor than to be an exponent of dancing, and early took him under his protection. Of all Danjuro’s followers, Koshiro is the best qualified to carry on the Ichikawa traditions. Unfortunately, Koshiro was indiscreet in his youthful escapades, and so angered his master that he was expelled by Danjuro from the theatre, and for a time it seemed that he might never return.

When the Imperial was opened, Koshiro became attached to this theatre, and was quickly reinstated in the favour of the public. Danjuro’s widow, however, never forgot the injunction of her husband that Koshiro was not to succeed him, and while this actor is in every respect an Ichikawa, the great name of the tenth is still going begging.

In the Ichikawa aragoto rôles Koshiro is the best in Japan. Thoroughly trained in the Fujima school of dancing, he is a creative dancer, always producing new modes of expression. As a realistic actor he has few equals, and shows much cleverness in new plays. It is in making up, however, that he greatly excels, and can transform his countenance by means of strange, imaginative designs, or become a rogue, policeman, statesman, doctor, or lawyer in modern plays with surprising success.

The seventh Sawamura Sojuro is also one of the Imperial Theatre stars. He acts so well with Baiko and Koshiro that they form a perfect trio, and when there is a break in this stage comradeship, Tokyo will be conscious of a blank like that which was experienced when the three great actors of Meiji passed away one after the other.

Sojuro is at his best in samurai and aristocratic rôles, He also makes a fascinating woman, and his ability in the dance, while not so striking as that of Baiko and Koshiro, is still very great. Acting with Sojuro are his four sons, and a nephew, Sawamura Chojuro. A few months after the earthquake disaster of 1923, Sawamura Sonosuke, also a nephew of Sojuro, one of the best onnagata of the Tokyo stage, passed away. During a performance in a small theatre that had escaped the general ruin of the city he fell from a height on the stage and died a few hours later.

Morita Kanya, the thirteenth, among the most promising young actors of the Imperial, is a name to conjure with in Tokyo. The son of the theatre manager of the same name who became intoxicated with Western ideas and experimented in the new only to return to the sanity of Kabuki in the end, Kanya has a deep hold upon the affections of Tokyo playgoers, not only because of his long lineage and the association of his family with the city, but for the reason of his handsome appearance and unquestioned ability.

He has become so popular in modern plays dealing with the problems of the young man of to-day that he is forgetful of tradition. Like his father, however, he is original and eager to seek out new paths. His brother, Bando Mitsugoro, is one of the chief exponents of the shosagoto school in Tokyo, and a dancer of whom Tokyo is proud.

Associated with these players is Onoe Matsusuke, the fourth, the oldest actor on the Tokyo stage. He played with Danjuro, but old age has no terrors for him, and he is never absent from the footlights. Although Matsusuke is benevolent and fatherly in appearance, he delights in acting villains, and when he takes old men’s rôles he is such a complete success that it will be very difficult to fill his place after he is gone.

For twenty years the acknowledged leader of the Tokyo actors has been Nakamura Utayemon, the fifth. The most finished onnagata in Japan, having played with the three stars of Meiji—Danjuro, Kikugoro, and Sadanji—he is still active at the end of a long career, playing maidens of sixteen, though he is approaching the sober judgement of the sixties.

At the Kabuki-za, Nakamura Utayemon still holds his own. His audiences notice the signs of advancing age, yet their attitude is one of great loyalty. The chief Tokyo yakusha has a world of meaning for the patrons of shibai, as it signifies the actor has obtained the highest rank possible. He is proud and something of a martinet in the theatre, but on the stage Utayemon’s fair women are a study in themselves. His elegance will be remembered long after he is no more.

Nephew to Kikugoro, the fifth, Ichimura Uzaemon, the thirteenth, has inherited a name that adorns the history of Kabuki, the first Uzaemon being the owner of the Ichimura-za, for long years one of Yedo’s chief shibai. He is brilliant, showy, sentimental, an actor of many accomplishments, accustomed to play lover, brother, or father to Utayemon’s heroines.

Follower of Danjuro, the ninth, Ichikawa Chusha is an actor who enjoys much popularity. His restrained manner and well-modulated voice, and cleverness in the realm of the unreal have marked him as a true disciple of the Ichikawa family. He manages to make his villains more thoroughly wicked than those of any other player.

Belonging to Utayemon’s generation is Kataoka Nizaemon, the eleventh. Only two actor lines have come down from Genroku unbroken, those of Ichikawa and Kataoka, the one uppermost in Yedo, the other the first family of Osaka. The present Nizaemon, discouraged, perhaps, because of the overwhelming popularity of Nakamura Ganjiro, with no background of family, but who has captured all before him, has made Tokyo his headquarters for the past fifteen years. When Ganjiro comes at long intervals to play in Tokyo, Nizaemon leaves for Osaka, a deep rivalry existing between them. Something in Nizaemon’s temperament has made open competition with Ganjiro impossible, although in certain rôles no one can approach him.

Nakamura Kichiyemon, a member of the Kabuki-za company, is a meteor-like actor, having risen rapidly and by sheer ability, for he has little ancestral prestige to enhance his reputation. He has no pretensions to boast of as a dancer, but in the loyalty characters of the Kabuki masterpieces, in creating afresh the rôles left by Chikamatsu Monzaemon, Takeda Izumo, and Chikamatsu Hanji, he is unsurpassed. His brother, Nakamura Tokizo, is one of the young onnagata of whom much is expected.

The youngest actor of the Tokyo stage is Nakamura Matagoro, aged 12. His actor father died a few years ago, and Kichiyemon took the lad under his protection. It is no exaggeration to call Matagoro’s acting remarkable. Something of Kabuki’s Montessori methods are clearly shown in this boy’s performances, but personality counts also. He seems to the manner born, and it is felt that he will develop into a future leader of Kabuki.

Bando Shucho of the Kabuki-za is like an old-fashioned onnagata in type, and his son resembles him very closely. There seems no danger that this specialty will become extinct, although the Tokyo stage has lost within recent years four of its most talented impersonators of women.

Onoe Kikugoro, the sixth, son of the popular Kikugoro of the Meiji period, is at the head of the Ichimura-za company of players. He follows his father in acting men of the people, yet has never been able to equal the parental standard. In shosagoto and the descriptive dance, however, he is a genius, original, picturesque, a master of movement. Possessed of energy, creativeness, and eager for new ideas, Kikugoro is one of the most interesting personalities on the Tokyo stage.

Ichikawa Sadanji, the fifth, son of the Meiji actor, and one of Tokyo’s most popular players, is at the head of his own company, has travelled abroad, and is more favourably inclined to new ventures than the revival of the old plays.

Nakamura Ganjiro bears the same relation to the Osaka stage as Utayemon does to Tokyo. He follows the natural school founded by Sakata Tojuro of Kyoto, and like this Genroku actor, one of his favourite rôles is that of Izaemon, the lover of Yugiri, in the Chikamatsu drama. Born the son of an actor, but unfortunate in his family circumstances, he is self-made, and by many is considered the first actor of Japan. He is the last of the fine old yakusha; in the Meiji period he had already won a high place for himself, appearing with the three Tokyo stars, Ichikawa Danjuro, Ichikawa Sadanji, and Onoe Kikugoro, and to-day he dominates the Dotombori, the theatre quarter of Osaka.

An onnagata who baffles description, since he is so subtle, is Nakamura Fukusuke, of Osaka, there being two actors of the same name at present. Some years older than the Tokyo Fukusuke, the Osaka actor plays many types of women, each creation appearing better than that which has gone before.

After Ganjiro in Osaka, there is Jitsukawa Enjaku, an actor of the first quality, who for some reason known only to the profession is rarely seen in Tokyo. Gado, of Osaka, is a nephew of Nizaemon, and spends his time between the two cities. Nakamura Jakuyemon, the third, an Osaka onnagata, frequently plays in Tokyo. He differs from all the other actors because he has persistently and consistently patterned after the marionettes, and seems to have associated with the dolls in such a familiar way as to belong to the sphere of elfs and fairies rather than to the ordinary characters of drama.

The effect of the earthquake disaster of September i, 1923, upon the Tokyo stage can hardly be estimated. By this catastrophe the leading theatres of the city were demolished, with the exception of the Imperial and the Kabuki-za, which remained damaged and gaunt reminders amid the general devastation. The Imperial withstood the earthquake shocks, but fire destroyed the interior. It has, however, been restored and reopened. The Kabuki-za, burned down in 1921, was being rebuilt on an elaborate scale, and its outer shell of concrete by some miracle was left intact in a region of the city that was levelled to the ground. The work of construction, however, went forward as soon as conditions would allow, and was completed in time for the opening performances in January 1925. The solid Occidental structure has been combined with some of the most ornate Japanese architectural features, and the new Kabuki-za is one of the most gorgeous buildings to be found throughout the East.

Poverty, suffering, hardship, followed in the wake of the unprecedented earthquake disaster, and it will take many years before the scars are healed and the theatre once more reflects the restored prosperity of the people. Whether this chastening will be a benefit or lasting injury remains to be seen.

Kabuki, always acquisitive, standing between the idealism of the Nō and the realism of the Doll-theatre, is no longer self-centred, but has become, like Kim, the friend of all the world, and is ever ready to learn from London, New York, Paris, or Berlin.

On the other hand, to cause the inner consciousness of the Japanese people to speak to that of the West through the medium of what is genuine in Kabuki—this is the large untried experiment of the future.

The Western Theatre, possessing the traditions of the Greeks and of Shakespeare, has yet to discover the Eastern Theatre, a sphere of human endeavour that remains unexplored and unexploited. Out of the theatrical wisdom of the East may come a force to produce a new era of creativeness in the West. By the recognition and appreciation of Kabuki, the Western Theatre would not only greatly enrich itself, but stimulate the actors of Asia to higher things.

BIBLIOGRAPHY

Nippon Engeiki Shi, History of the Japanese Stage. Ihara Seiseiin. Two volumes (published Meiji).

Nippon Gikyoku Shi Kowa. Lectures on the History of Japanese Drama. Ihara Seiseiin (published Meiji).

Generations of the Ichikawa Family. Ihara Seiseiin (published Meiji).

Kabuki Sosho. Collection of Kabuki Records. Including Kokon Yakusha Taizen, Ancient and Modern Actors; Jijinshu, Collection of the Year’s Dust; Kabuki Koto Hajime, Beginnings of Kabuki; Shinroku Yakusha Komoku, Stories of Actors; Yakusha Zensho, All About Actors. Published by Hachimonjiya. Collected and edited by Seisetsu Sasa (published Meiji).

Kokon Yakusha Taizen, Ancient and Modern Actors. Published by Hachimonjiya, 1626. Criticism of actors.

Jijinshu, Collection of the Year’s Dust. Kaneko Kichizaemon. Anecdotes of the actors, chiefly Sakata Tojuro.

Kabuki Koto Hajime, Beginnings of Kabuki. Tamenaga Icho. Criticisms of the actors. Published by Hachimonjiya, 1762.

Kabuki Shoshi Sosan. Collection of old records.

Hana Yedo Kabuki Nendaiki, Flower Yedo Chronology of Kabuki. Records of plays and players in Yedo, by Emba Danshuro, and continued in many volumes by other writers. Published by Hachimonjiya.

Zoku Zoku Kabuki Nendaiki, Continued-Continued Kabuki Chronicles, from Ansei to Meiji 36. Tamura Nariyoshi. Two volumes (published Taisho 11).

Engeiki Taizen, Complete Account of Drama. Sekine Mokuan.

Meiji Engeiki Gojunenshi, Fifty Years’ History of Meiji Stage. Sekine Mokuan.

Ayame Gusa, Sayings of Ayame. Yoshizawa Ayame.

Amayo Sanbai Kigen, Three Cups of Sake on a Rainy Night. Criticisms of Kabuki. Ihara Saikaku.

Okina Gusa, Old Man Sayings. Criticisms of Kabuki.

Sadoshima Nikki, Journal of Sadoshima.

Oyino Tanoshimi, Pleasures of Old Age. Journal of Ichikawa Danjuro, the second.

Tokumiyemasu, I Can See Afar. Journal of Ichikawa Danjuro, the seventh.

Temaye Miso, My Own Bean Soup. Kawarasaki Gonnosuke.

Joruri Shi, History of Joruri. Takano Tatsuyuki (published Meiji 23).

Gidayu Taikan, Great Mirror of Gidayu. History of Gidayu Joruri. Akiyama Kiyoshi. Two volumes (published Taisho 6).

Life of Chikamatsu Monzaemon. Dr. Oto Fujii (published Meiji 37).

Joruri-Hime Monogatari. Ballad of Princess Joruri.

Chiyoda no Oku, Harem of Yedo Castle.

Tokaido Meishoki, Noted Places of the Tokaido.

Izumo O-Kuni Den, Biography of O-Kuni of Izumo.

Kawataki Mokuami, Biography of Mokuami. Kawataki Shiyetoshi (published Taisho 3).

Kokugeiki Shoshi, Short History of Japanese Drama. Dr. Yuzo Tsubouchi.

Geki to Bungaku, Drama and Literature. Dr. Yuzo Tsubouchi (published Meiji 44).

Ichikawa Ko Hiden Kumadori Zukan. The making-up book of the Ichikawa family.

Butai no Omokage, Stage Face Shadows. Abe Utaka. Biographies of the modern actors (published Taisho 8).

Notes on Japanese Drama, in the Transactions of the Asiatic Society of Japan. Rev. Arthur Lloyd.

Far East Magazine, 1871.

Japan, its History, Arts, and Literature. Captain F. Brinkley.

History of Japan. James Murdock.

Things Japanese. Basil Hall Chamberlain.

Epochs of Chinese and Japanese Art. Ernest Fenollosa.

INDEX

Actor customs, 174, 175, 176, 177, 227, 230 „ earnings, 112 „ lines, 102, 107 „ ranks, 78 „ superstitions, 135, 158, 297 Adzuma Sampachi, 241 _Aida_, 347 Alexandra, Queen, 345 Anekawa Shinshiro, 118 Araki Yojibei, 76, 233 Arashi Kanjuro, 155 „ Kichisaburo, 3rd, 142 „ Rikaku, 325 „ Sangoro, 158 „ Sanyemon, 76, 99, 150 „ „ 2nd, 101 „ „ 3rd, 119 „ Seisaburo, 242 Archer, William, 298 Art Theatre, 355 Asada Icho, 263 Asahi Shimbun, 342 Asakusa firemen, 336 _Asamagatake_, 103 Asao Tamejuro, 122 Ashigoroye, 174 Asiatic Society of Japan, 165 _Ataka_, 95

Baiko, _see_ Onoe Baiko Bando Hikosaburo, 116 „ „ 3rd, 246 „ „ 4th, 326 „ „ 5th, 326, 329 „ Matakuro, 83 „ Mitsugoro, 274 „ „ 4th, 130, 341, 342, 370 „ Shucho, 373 _Banzuiin Chobei_, 243, 300 Banzuke, 178 Basho, 160 _Battle of Kokusenya_, see _Kokusenya Kassen_ Biwa, 194 Bon Festival, 173 _Botan Doro_, 296, 359 Brinkley, Captain F., 50, 165 Bungei Kyokai, 350, 351, 352, 355 Bungo-bushi, 196, 197 Bunraku-za, 6, 152 Bunsaburo, 150

Chamberlain, B. H., 57 Chikamatsu Hanji, 239, 257, 292, 298, 372 „ Monzaemon, 76, 88, 91, 113, 148, 150, 151, 195, 232, 234, 235, 236, 237, 238, 239, 242, 255, 261, 302, 303, 312, 314, 372 Chinese influence, 185, 186 „ zodiac, 231 Christian influence, 184, 187 Christianity proscribed, 184 _Chushingura_, 14, 46, 100, 115, 150, 172, 211, 217, 219, 284, 285, 324 Connaught, Prince Arthur of, 368

Dekata, 180, 181 Doi Shunsho, 351, 352 _Dojo-ji_, 307 Dokegata, 234 _Doll’s House_, 351 Dramatic Reform Association, 348 Dramatisation of popular fiction, 245

Ebiso, 92, 324 Ebisuya Kichirobei, 135 Edicts against Europeans, 184 Edward, King, 345 Eizaburo, 7th, 41, 369 Ejimaya Kiseki, 81 Encho, 296 English factory, 184 Enomoto Torahiko, 362 Epochs of Chinese and Japanese Art, 50 Ervine, St. John, 276 European costume, 187, 350 „ influence, 183

Fenollosa, E., 50, 166, 185 Foreign influence on Kabuki, 184, 186 Forty-seven Ronin, see _Chushingura_ France, President of, 346 Fujii, Dr. Oto, 238 Fujima family, 274 „ Fusa-ko, 357 „ Kangoro, 275 „ Kanjiro, 129 „ Kanyemon, 275, 369 „ school, 370 Fujisawa, 346 Fujita Koheiji, 76, 233 Fukuchi Genichiro, 23, 227, 296, 340, 359, 362 Fukui Yagozaemon, 76, 232 Fukuoka Yagoshiro, 137, 240 Fukuzawa, 342 Furigoto, _see_ Shosagoto Furitsuke-shi, 273

Gado, 374 Gagaku, 193 Ganjiro, _see_ Nakamura Ganjiro Genji Monogatari, 79 Gidayu Joruri, origin, 197 Gorky, 352 Grant, General U., 340, 349

Hachimonjiya, 79, 81 „ Yisho, 81 Hakuin, 161 _Hamlet_, 345, 351 Hanabusa Ichi, 160 Hanakasa Rosuke, 247 Hanamichi, conventions, 17, 18, 19 „ origin, 220 Hasegawa, Miss Chiyo-ko, 363 „ Kampei, 28, 29 „ Senshi, 239 Hatsuse Nami-ko, 357 Hauptmann, 352 Hayakawa Dengoro, 241 Hayashikata, 230 Hearn, Lafcadio, 57, 352 _Hinin no Adauchi_, 77 History of Japan, 50 Hojo Danshin, 80, 81 _Honan_, 361 Horikoshi, 92 „ Nisanji, 244, 245

Ibaraki, 307 Ibsen, 352 Ichikawa Chusha, 336, 372 „ Danjuro, 1st, 21, 43, 84, 87, 91, 93, 97, 99, 102, 136, 157, 159, 185, 186, 239, 240, 241, 254 „ „ 2nd, 111, 114, 151, 159, 160, 218, 228, 242 „ „ 4th, 113, 117, 124, 158, 243 „ „ 5th, 125, 245, 269 „ „ 6th, 219 „ „ 7th, 125, 127, 128, 229, 247, 248, 249, 324, 330, 331, 358 „ „ 8th, 128, 249, 335, 338, 331 „ „ 9th, 42, 44, 45, 62, 126, 128, 227, 273, 323, 328, 329, 330, 332, 333, 334, 336, 337, 338, 340, 344, 348, 349, 353, 358, 360, 369, 371 „ Dannosuke, 142 „ Danshiro, 105, 157, 336 „ Danzo, 117 „ „ 4th, 142 „ „ 5th, 129 „ Ebizo, 219 „ Kodanji, 3rd, 129, 359 „ „ 4th, 325, 326 „ „ 5th, 326 „ Kumehachi, 62, 354 „ Monosuke, 5th, 129, 329 „ Sadanji, 328, 329, 336 „ Sainyu, 45 „ Sansho, 43, 335, 336 „ Shinjuro, 336 „ Shinsaburo, 43, 335, 336 „ Yaoza, 211 Ichimura Takenojo, 157, 233, 373 „ Uzaemon, 1st, 157, 233 „ „ 8th, 117 „ „ 12th, 126, 328 „ „ 13th, 82, 371 Ichimura-za, 43, 81, 82, 96, 125, 180, 204, 211, 212, 216, 219, 229, 231, 233, 324, 325, 329, 368, 371, 373 Ihara Saikaku, 80, 81, 88, 135, 136 „ Seiseiin, 50, 56, 62, 72, 80, 97, 188, 206, 213 Ii Yoho, 346 Ikeda Taigo, 363 Ikushima, 59 „ Shingoro, 100, 103, 107, 112, 163, 206, 207, 208, 216 _Imagawa Shinobi Guruma_, 233 _Imoseyama_, 122 Imperial Household, 339 „ Theatre, _see_ Teigeki „ University, 352 Inouye, Count, 332, 349 „ Harima, 148 Issen, 246 Itagaki, Count, 343 Ito Hirobumi, Prince, 332, 349, 360 „ Kodayu, 136 Itoyori Gensaburo, 134 Iwai Hanshiro, 109, 117, 209 „ „ 4th, 129 „ „ 5th, 245 „ „ 7th, 329 „ „ 8th, 326, 328, 329 Izumi Dayu, 147, 148

Jakuyemon, 3rd, 374 Japan, Dowager Empress of, 333 „ Emperor of, 333, 349 „ Empress of, 333 „ Prince Regent of, 15, 333, 368 Jesuit influence, 52, 54, 184 Jidaimono, 37, 253 Jitsukawa Enjaku, 374 Jiyu Gekijo, 352 Joruri-hime, 145, 194 Juhachiban, 93 _Julius Cæsar_, 351 Kabuki audiences, 180 „ horse, 23, 24 Kabuki-za, 43, 143, 333, 340, 341, 360, 362, 368, 371, 373, 374 Kaburagi Kiyokata, 330 _Kagami-yama_, 319 _Kagekiyo_, 270 _Kakiyemon the Potter_, see _Meiko Sakaido Kakiyemon_ Kamban, 178 Kaneko Kichizaburo, 88, 90 „ Kichizaemon, 233, 234, 235 „ Rokuyemon, 233 _Kanjincho_, 95, 240, 249, 265, 333 Kanya, _see_ Morita Kanya Kappore, 185 _Kasuga no Tsubone_, 360 Kataoka Nizaemon, 1st, 101, 102, 150, 16 „ „ 3rd, 102 „ „ 7th, 125 Kataoka Nizaemon, 11th, 372 Katsureki, 348, 360 Kawai Takeo, 346 Kawakami Otojiro, 342, 344, 345, 346 Kawamura, 346 „ Kikuye, 357 Kawara Kojiki, 60, 68, 164, 176, 339 Kawarazaki Gonnosuke, 70, 83, 240, 331 Kawarazaki-za, 81, 83, 178, 212, 229, 332, 337 Kawataki Shinkichi, _see_ Mokuami _Kesa Gozen_, 105 _Keisei Asamagatake_ „ _Awa no Naruto_, 91 Kichiyemon, _see_ Nakamura Kichiyemon Kikaku, 160 Kikuchi, Baron, 348 „ Kan, 363 Kikugoro, _see_ Onoe Kikugoro „ family, 328 Kineya family, 196, 198 „ Kangoro, 70, 195 „ Kisaburo, 70, 123, 195 „ Rokuzaemon, 195 Kinkaku-ji, 41 Kino Kaion, 151, 238, 239, 304 Kintoki, 92 _Kirihitoha_, 360 Kirinoya Gonjuro, 163, 176 Kiri-za, 142 Kiyomoto, origin, 197 Kiyonobu, 178 _Kochiyama_, 38, 359 Koda, Dr. Rohan, 363 Kojo, 40, 174 _Kokoro no Nazo Tokete-Iro Ito_, 188 _Kokusenya Kassen_, 113, 151, 242, 261 Korin, 160 Koshiro, _see_ Matsumoto Koshiro Kosogawa Juyemon, 109 Kumadori, 21 Kumehachi, _see_ Ichikawa Kumehachi Kume Masao, 363 Kurombo, 25 Kyoto Onnagata, 143 Lloyd, Rev. Arthur, 165, 186 Lytton, Bulwer, 339

Macaulay, Lord, 276 Madame Butterfly, 353 Maeterlinck, 352 _Magda_, 351 Maki-no-Kata, 360 _Man of Destiny_, 351 Mansfield, Richard, 368 Martino, Sig., 349 Masanobu, 218 Masuda Taro, 363 Matsu Kanshi, 282 Matsuda Wakichi, 239 Matsue, Daimyo of, 359 Matsui Shoyo, 347 „ Suma-ko, 351, 352, 355, 356 Matsumoto Koshiro, 1st, 109 „ „ 4th, 124, 245 „ „ 5th, 126, 244 „ „ 7th, 22, 43, 64, 109, 273, 335, 336, 360, 369, 370 Matsusuke, _see_ Onoe Matsusuke _Meiko Sakaido Kakiyemon_, 362 Mei Ran-fan, 136, 368 Menukiya Chosaburo, 145 _Merchant of Venice_, 351 Midzuke Yatsunosuke, 138, 150 Midzushima Shirobei, 240 Miigata Torahiko, 363 Mimasuya Hyogo, 241 „ Nisoji, 248 Ming Dynasty, 185 Miura, Madame, 353 Miyako Dennai, 65, 70, 232, 233, 240 „ Mandayu-za, 88, 99, 234, 237 Miyako-za, 204 Miyakoji Bungojo, 196, 197 Miyasaki Denkichi, 105, 158, 240 Miyoshi Shoraku, 285, 298 _Miyuki no Asojiro_, 291 Mizuno, Lord of Echizen, 212, 213 _Modoro Bashi_, 305 Mojidayu, 197 Mokuami, 38, 227, 250, 293, 296, 305, 307, 325, 326, 329, 339, 340, 349, 358 Mori, Dr. Ogai, 362 „ Prince, 349 „ Ritsu-ko, 347, 357, 363 Morita Kanya, 2nd, 83 „ „ 12th, 332, 337, 338, 339, 340, 341, 352 „ „ 13th, 42, 83, 341, 342, 370 „ Tarobei, 82 Morita-za, 81, 82, 229, 337, 338 Mount Fuji, 30, 176 Murasaki Shikibu, 79 Murata Kaku-ko, 357 Murayama Matahei, 70, 72, 82 „ Matasaburo, 65, 70, 82, 135 „ Sakon, 134 Murayama-za, 82, 134, 215, 216 Murdock, James, 50, 52, 162, 183, 202 Mushakoji Saneatsu, 363

Nagai Kafu, 363 Nagasaki, 30, 185 Nagawa Kamesuke, 243 „ Seisuke, 246 „ Shimesuke, 245 „ Takusuke, 246 Nagoya Sansaburo, 51, 52, 53, 55, 56, 57, 63, 70, 178, 193, 221 Nakajima, Hiroyemon, 106 „ Kanzaemon, 107 Nakamura Akashi, 15th, 68 „ Ake, 263 „ Daikichi, 143 „ Denkichi, 242 „ Denkuro, 69, 103, 104, 242 „ Fukusuke (Tokyo), 369 „ „ (Osaka), 373 „ Ganjiro, 44, 45, 64, 87, 91, 232, 372, 373, 374 „ Hichisaburo, 102, 104, 240, 241, 242 „ Jiyemon, 67 „ Juzo, 118 „ Kangoro, 195 „ Kansaburo, 219, 230, 242 „ Karoku, 142 „ Kasen, 62, 356 „ Kazuma, 136 „ Kichiyemon, 36, 372 „ Kichizo, 363 „ Matagoro, 36, 372 „ Nakazo, 122, 125, 159, 161, 210, 245 „ Sanyemon, 49 „ Seigoro, 109, 208, 242 „ Senya, 139 „ Shikan, 326 „ Tokizo, 372 „ Tomijuro, 141, 327 „ Utayemon, 1st, 43, 122, 155, 246 „ „ 3rd, 129, 187, 210, 246 „ „ 4th, 129, 210, 248, 273, 324, 368, 369 „ „ 5th, 130, 143, 371, 373 Nakamura-za, 81, 83, 175, 176, 204, 211, 212, 218, 219, 231, 240, 324 Nakayama Nishi, 142 „ Shinkuro, 118 Namaki Gohei, 243, 244 „ „ 2nd, 249 „ Shozo, 243 „ Sosuke, 239, 243 Namiki Senryu, 285 Naritaya, 94 Nezumi-kido, 230 _Nijushiko_, 292 Nikko shrines, 32 Nishikawa Senzo, 274 Nishimura Shigenaga, 219 Nishizawa Ippu, 239, 249 Norikomi, 182 _Noroi_, 363 Notes on Japanese Drama, 186 _Nozaki-mura_, 257 Nukada Roppoku, 363

Ochi Kochi, _see_ Fukuchi Genichiro Odori, 271 Ogino Sawanojo, 136, 137 „ Yayegiri, 139 Okamoto Kido, 361 Oka Onitaro, 363 _Okujiyo no Kyojin_, 363 Okuma, Marquis, 201, 202, 214, 350 O-Kuni, 11, 49, 51, 52, 53, 54, 55, 56, 57, 63, 66, 144, 145, 178, 183, 186, 193, 194, 221 O-Kuni, 3rd, 58, 132 „ Kabuki, 178, 195, 216, 217 Omezo, 330 _Omi Genji_, 298 _Omori Hikoshichi_, 23, 360 Omura, Mrs. Kayo-ko, 363 _O-Natsu Kyoran_, 361 Onnagata line, 139, 140 Onna Kabuki, 58, 59, 216 Onoe Baiko, 41, 143, 329 „ „ 6th, 368, 369, 370 „ Kikugoro, 1st, 41, 246 „ „ 3rd, 126, 130, 248, 324 „ „ 5th, 126, 326, 328, 329, 352 „ Kozo, 42 „ Matsusuke, 42, 210, 246, 371 Ono-no-Otsu, 61, 145 Osada Hideo, 363 Osaka Kaomise, 174 Osanai Kaoru, 352, 362 Oshiai Yunidan, 241 Otani Hirotsugi, 116, 218 _Othello_, 346 Oyama, 138

Pavlova, Madame, 368 _Peony Lantern_, see _Botan Doro_ Police censors, 230 Prince of Wales, 15, 96, 333, 368 Princess Joruri, _see_ Joruri-hime

Redesdale, Lord, 170 _Resurrection_, 355 Revolving stage, 33 „ „ origin, 220, 221 Riverside Beggars, _see_ Kawara Kojiki Rokuji Namuyemon, 61, 145 _Romeo and Juliet_, 188 Rossi, Sig. G. V., 353 Russia, Tsar of, 346 _Ryujo Sanjuniso_, 242

Sada Yakko, 342, 344, 345, 346, 347, 354 Sadoshima Chogoro, 77, 112, 119, 158 „ Denbei, 77 „ Denpachi, 60, 77, 119 „ Saburozaemon, 240 „ Shokichi, 58 „ Yosanji, 58 Sakai-machi, 204, 205, 216 Sakakiyama Koshiro, 119 Sakakuyama Kanpachi, 240 Sakata Tojuro, 84, 87, 88, 99, 102, 136, 138, 150, 157, 234, 235, 239, 255, 363, 373 _Sakura Shigure_, 362 Sakura Sogoro, 46, 301 Sakurada Jisuke, 245, 250 Sakurai Tamba, 147 Sambasso, 45 Samisen, origin, 192, 199 Samon Yoshitaka, 145 Saruwaka Kansaburo, 65, 66, 67, 68, 69, 72, 82, 103, 163, 175, 195, 240, 332 Saruwaka-cho, 213, 324, 328, 337 Saruwaka-za, 82, 135, 195, 240 Satsuma Kogenda, 163 Sawamura Chojuro, 1st, 100, 106, 114 „ „ 2nd, 107 „ „ 3rd, 107, 370 „ Kodenji, 139 „ Sojuro, 1st, 114, 150, 160, 219 „ „ 3rd, 142, 243, 244 „ „ 4th, 244 „ „ 5th, 130 „ „ 6th, 328 „ „ 7th, 370 „ Sonosuke, 370 „ Tannosuke, 2nd, 142, 328 _Sayo Shigure Tenno Amijima_, 303 School for actresses, 353 Schools of dancing, 275 Segawa Joko, 249 Segawa Kikugoro, 141 „ Kikunojo, 141, 210, 218 Sekai-sadame, 227 Sekine Mokuan, 225 _Sekinoto_, 317 _Sembonzakura_, 122 Sendaihagi, 39, 282 Sengaku-ji, 46, 288 Senge, Baron, 49 Sewamono, 253 Shakespeare translations, 350 Shibai advertisements, 177 „ chaya, 179 _Shibaraku_, 355 Shibazaki Rinzaemon, 109 Shibusawa, Baron, 348 Shimamura Hogetsu, Prof., 351, 352, 355 _Shimbochi’s Drum_, 69 Shimpa, 342, 350 Shintomi-za, 332, 338, 340, 341 Shosagoto, 353 Sodesaki Karyu, 138 _Soga no Goro_, 96 Stage costumes, 209 Statue of Danjuro, 9th, 335 Sudo, 342 _Sugawara Denju Tenarai Kagami_, 277 Sugimori Nobunori, _see_ Chikamatsu Suyematsu, Viscount, 348

Taiyu, 18 Takada, 346 Takano, 204 _Takasago_, 172 Takayasu Gekko, 362 Takeda Izumo, 46, 100, 115, 150, 151, 172, 219, 238, 239, 277, 279, 284, 333, 372 Takemoto Gidayu, 148, 195, 199, 237 „ Saburobei, 304 Takemoto-za, 148, 195, 238, 239, 242 Takeshima Kyozaemon, 60, 99, 100 Taki Sansaburo, 135 Tamagawa Sennojo, 135 „ Shujen, 135 Tamamura Kichiya, 135, 136 _Tamba Yosaku_, 150 Tamenaga Icho, 55 Tamura Nariyoshi, 35, 271, 341, 352 Tanaka Senryu, 239 Tanizaki Juichiro, 363 Tatsumatsu Hachirobei, 148 Tatsuoka Mansaku, 243 Teigeki, 22, 83, 136, 143, 195, 329, 333, 335, 347, 352, 353, 357, 358, 361, 368, 369, 374 _Terakoya_, 277, 333 Tofu-ya, 90 Togi Tetsuteki, 351 Tojuro-no-koi, 363 Tokaido, 44 Tokiwazu, origin, 197 Tokugawa Government and Theatre, 162, 202, 203, 204, 213 Tokyo, Mayor of, 333, 336, 368 „ Kabuki, 368 Tokyo-fu, Governor of, 332, 339 Tominaga Heibei, 233, 234 Torii family, 177, 178 „ Kiyomitsu, 178 „ Kiyonaga, 175 „ Kiyotada, 178 Toyama, 212 Toyokuni, 155, 219 Toyotaki-za, 148, 239 Travel abroad prohibited, 184 Tsubouchi Yuzo, Dr., 164, 264, 350, 351, 352, 355, 360, 361 _Tsuchigumo_, 317 Tsuruya Namboku, 187, 188, 191, 226, 246, 294 Tsuuchi Jihei, 242

Ukon Genzaemon, 134 _Usuyuki no Sanyemon_, 290 Utagawa Kuniyoshi, 178 Utagawa Toyohara, 219 Utayemon, _see_ Nakamura Utayemon Uyeno Park, 302

Vega, Lope de, 86

Waseda Daigaku, 350, 355 Western books interdicted, 184 „ theatre influence, 219, 222, 275 Wood-cut illustrations, 234

Xavier, S. Francis, 184

Yagura, origin, 221 Yamamoto Arizo, 363 „ Kyusaburo, 353 „ Yuzo, 363 Yamamura Chodayu, 107, 208 „ Kobei, 65, 70 Yamamura-za, 83, 108, 207, 209, 212 Yamanaka Heikuro, 106 Yamashita Kinsaku, 4th, 143 „ Kyoyemon, 99, 100, 157, 234, 240 „ „ 2nd, 100 Yamato Dansuke, 59, 64, 65, 100 „ Shimbun, 362 Yamatoya Imbei, 157 Yamazaki Shiko, 363 _Yanone_, 218 _Yaoya O-Hichi_, 241 Yasuda Abun, 239 Yedo costumes, 336 „ Kabuki, 42, 111, 175, 195, 212, 219, 240 „ Kamban, 178 „ Nagauta, 196 „ Norikomi, 182 „ Shibai, 209, 216, 217 Yenoshima, Lady, 108, 163, 206, 207, 208, 216 Yorizome, origin, 230 Yosehajime, 175 Yoshii Isamu, 363 _Yoshitsune Sembonzakura_, 279 Yoshiwara, 305 Yoshizawa Ayame, 1st, 70, 100, 137, 138, 141, 150, 155 „ „ 4th, 141, 240 _Yotsuya Kaidan_, 246, 295 _You Never Can Tell_, 351 _Yugiri of Awa in Naruto_, 150 _Yuki Onna Gomai Hagoita_, 150

Za, 83

THE END

_Printed in Great Britain by_ R. & R. Clark, Limited, _Edinburgh_.

Transcriber’s Notes

Word hyphenation has not been standardised.

Words between underscores were originally italicised in the printed book.

Illustrations are indicated with “[Illustration]”. In most cases the caption text has been re-formatted to a nominal 72 character page width to match the rest of the text.

Thought breaks (an extra space between paragraphs) is represented with “* * * * *”.

Other changes:

Page 384: “Uyeno Park, 332” changed to “Uyeno Park, 302”

Page 384: “Vega, Lope de, 86” changed to “Vega, Lope de, 186”

In several cases the spelling of Japanese names in the index differ from those in the text. These differences have been retained. A few are noted below:

Sadoshima Denpachi in index but Sadoshima Dempachi in text Miigata Torahiko in index but Miigita Torahiko in text Ichikawa Monosuke in index but sometimes Ichikawa Monnosuke in text Namaki Gohei in index but sometimes Namiki Gohei in text Namaki Shozo in index but Namiki Shozo in text Nukada Roppoku in index but Roppuku Nukada in text Sakakiyama Koshiro in index but Sakiyama Koshiro in text Sekinoto in index but Seikinoto in text Matsui Shoyo in index but sometimes Matsui Shoyu in text Nagawa Takusuke in index but Nagawa Tokusuke in text Togi Tetsuteki in index but Togi Tatsuteki in text Utagawa Toyohara in index but sometimes Utagawa Toyoharu in text Sada Yakko in index but sometimes Sada Yacco in text Ichikawa Yaoza in index but Ichikawa Yaozo in text Midzuke Yatsunosuke in index but Midzuke Tatsunosuke in text