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that the temple is all out of date, and are seeking with conscious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.
[Illustration: The Imperial Theatre of Tokyo, completed in 1911. The
building withstood the earthquake shocks of the great disaster of
1923, but the interior was destroyed by fire. It has now been entirely
restored. The Imperial is becoming an international theatre centre,
and has welcomed actors, musicians and dancers from England, America,
Russia, Italy and China.]
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.
[Illustration: Onoe Baiko, leading actor of the Imperial Theatre in an
onnagata rôle.]
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.
[Illustration:
(1) THE NEW KABUKI-ZA.
(2) ENTRANCE HALL OF THE NEW KABUKI-ZA.
The new Kabuki-za, with a seating capacity of 4000, which was
opened on January 6, 1925. Under construction at the time of the
earthquake disaster, September 1, 1923, the concrete structure remained
intact. Japanese architectural features have been used throughout the
Kabuki-za, and, rising out of the ruins of the city, it is one of the
most imposing buildings in Tokyo.]
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