The Japanese drama, as all evidence seems to agree in showing, still
remains what in substance it has always been--an amusement passionately
loved by the lower orders, but hardly dignified by literature deserving
the name. Apart from its native elements of music, dance and song, and
legendary or historical narrative and pantomime, it is clearly to be
regarded as a Chinese importation; nor has it in its more advanced forms
apparently even attempted to emancipate itself from the reproduction of
the conventional Chinese types. As early as the close of the 6th century
Hada Kawatsu, a man of Chinese extraction, but born in Japan, is said to
have been ordered to arrange entertainments for the benefit of the
country, and to have written as many as thirty-three plays. The
Japanese, however, ascribe the origin of their drama to the introduction
of the dance called _Samb[=a]so_ as a charm against a volcanic
depression of the earth which occurred in 805; and this dance appears
still to be used as a prelude to theatrical exhibitions. In 1108 lived a
woman called Iso no Zenji, who is looked upon as "the mother of the
Japanese drama." But her performances seem to have been confined to
dancing or posturing in male attire (_otokomai_); and the introduction
of the drama proper is universally attributed to Sarnwaka Kanzabur[=o],
who in 1624 opened the first theatre (_sibaia_) at Yeddo. Not long
afterwards (1651) the playhouses were removed to their present site in
the capital; and both here and in the provincial towns, especially of
the north, the drama has since continued to flourish. Persons of rank
were formerly never seen at these theatres; but actors were occasionally
engaged to play in private at the houses of the nobles, who appear
themselves to have taken part in performances of a species of opera
affected by them, always treating patriotic legends and called _n[=o]_.
The mikado has a court theatre.
Subjects of the plays.
The subjects of the serious popular plays are mainly mythological--the
acts of the great spirit Day-Sin, the incarnation of Brahma, and similar
themes--or historical, treating of the doings of the early dynasties. In
these the names of the personages are changed. An example of the latter
class is to be found in the _j[=o]ruri_, or musical romance, in which
the universally popular tale of _Chiushingura_ (_The Loyal League_) has
been amplified and adapted for theatrical representation. This famous
narrative of the feudal fidelity of the forty-seven _ronins_, who about
the year 1699 revenged their chief's judicial suicide upon the arrogant
official to whom it was due, is stirring rather than touching in its
incidents, and contains much bloodshed, together with a tea-house scene
which suffices as a specimen of the Japanese comedy of manners. One of
the books of this dramatic romance consists of a metrical description,
mainly in dialogue, of a journey which (after the fashion of Indian
plays) has to be carried out on the stage. The performance of one of
these quasi-historical dramas sometimes lasts over several days; they
are produced with much pomp of costume; but the acting is very
realistic, and _hari-kari_ is performed, almost "to the life." Besides
these tragic plays (in which, however, comic _intermezzos_ are often
inserted) the Japanese have middle-class domestic dramas of a very
realistic kind. The language of these, unlike that of Chinese comedy, is
often gross and scurrilous, but intrigues against married women are
rigidly excluded. Fairy and demon operas and ballets, and farces and
_intermezzos_, form an easy transition to the interludes of tumblers and
jugglers. As a specimen of nearly every class of play is required to
make up a Japanese theatrical entertainment, which lasts from sunrise to
sunset, and as the lower houses appropriate and mutilate the plays of
the higher, it is clear that the status of the Japanese theatre cannot
be regarded as at all high. In respect, however, of its movable scenery
and properties, it is in advance of its Chinese prototype. The
performers are, except in the ballet, males only; and the comic acting
is said to be excellent of its kind. Though the leading actors enjoy
great popularity and very respectable salaries, the class is held in
contempt, and the companies were formerly recruited from the lowest
sources. The disabilities under which they lay have, however, been
removed; a Dramatic Reform Association has been organized by a number of
noblemen and scholars, and a theatre on European lines built (see
JAPAN).