The Pulaski citizen. [volume] (Pulaski, Tenn.) 1866-current, 1874-10-08
A JAPANESE PLAY.

The August number of the ReUac des
DsiLB MOndes contains a highly inter
esting paper on ." The Theatre in ia
pau," by NJ George Bous quet, who vis-
tied the country in an official capacity.
being charged with a special mission by
the French government. This paper,
besides an exhaustive account Of the
technicalities of the japanese stage.
gives several analyses of the japanese
dramas. One of these is a comedy
called " "Kami-ye-Djiye," or " "Djiye, the
paper-seller," which bears a most re-
markable resemblance to the "Dame aux
Camelias. The heroine of the comedy
IS guecha (singing prostitute) named
O'Hare. She is passionately loved by
a paper-dealer or stationer named
Diiye, whom she loves in return. But
he has not the money wherewith to pur-
chase her and lead her to his house in
quality of nlekdke (concubine), he being
already married. He has already con-
trscted debts on her behalf, is verging
towards ruin, and bringing his legiti-
mate wife and family to despair. An
other aspirant, Kahe, has been rejected
by the gltecbd. He is rich, but she
treats him as a disagreeable impor-
tunate.
The scene represents tho interior If a
tea-house, and the time is evening.
Enters O'Hare escorted by a kOskia
She sits down with the mistress of the
house near a brasero, and in their con-
versation an exposition of the state of
affairs is given. AS soon as this is fin
ished n kOSkiG arrives with a letter
which his mistress has hidden him de-
liver to O'Hare. It is letter from the
wife of Diiye, the neglected spouse.
What says she We learn nothing.
The singer reflects for an instant Then,
as if accomplishing a sacrifice, she
writes an answer, her hand trembling
with emotion. She gives it to the kos
kdi after hiding he letter she had re-
ceived in her dress with great care.
Hardly had this kOSkai, whose name
is Genroku, gone off then Kahe, the re-
jected suiter, appears, escorted by his
kOskdi. The scene which follows is
irresistibly comic. 1Kahe pursues the
intractable gltecha with his declara-
tions, but he does not figure as a BASH
full lover. He takes high ground with
the unhappy girl and taunts her bitterly
IN regard to the poor scamp whom she
loves, and draws a tempting picture of
the ease and luxury she will enjoy with
him If she will but be persuaded. How
ever, she scornfully rejects him. There
upon follows a colloquy between master
aud servant in regard to the strange re-
fusal. Kahe, despairing of getting
himself loved, determines TO revenge
himself by biting epigram. He looks
round for a guitRr. Not finding one he
seizes broom and initiating with amaz-
ing contortions the sighs of lover he
shouts, accompanied by his koskai,
song of nookery in regard to the unfor-
tunate Diiye:
There was once a poor paper-dealer
who was beaten by his wife-in his
house they died of hunger-all through
the fault of guechG.
Enough, enough !" cries the poor
girl. Encore, encore !" shouts the
public. The song is horrible, and the
ability of the actor to initiate the squall-
ing accents of Japanese music shows
that ridicule of themselves is not neg
lected by this sceptical people. The
plantitudes of the formulas of saluta-
ton are constantly made the subject of
most amusing parOdies. However, at
length the two women begin to lose pa
tience, and the gallant is invited to take
himself of. But even in returning he
plays off one of his tricks. At the door
he lays in wait for Diiye, who he thinks
cannot fail soon to be there In fact, a
man AnDgllEb WlNU AAta ANttAA GnNGAODGAl III
one of the black hoods which are worn
by persons who frequent these disreputa-
bic quarters, in order that they may
escape recognition. Kahe and his SER
want proceed to attack the unknown,
but he quickly knocks them aside and
shows his sabre. 1t is not Diiye, it is
one of the two-sworded mobiles. 81
ought TO punish you for your insolence,"
says he, "but as I am IN a place of this
kind I will pardon You. Go on your
ways" This injunction they do not re-
quire him to repeat.
This unsolicited clemency, however,
and certain details of costume, lead the
audience to suspect that this person Is
not one of the SdnloUrdiJ but that he
is compelled to hide his name and his
profession for some secret purpose. He
is, in fact, Djiye's father, who comes to
snatch his son, if possible, from this
fatal passion. He enters the tea-house
as a sanl0liy-1i who wishes for rest and
anu. ement. Everything must bow to
the desires of a SdRlOt1-ai and the mis-
tress of the house calls O'Hare to dance
aud sing for their guest. But she re-
fuses she is too sad. The mysterious
parsonage interrogates the hostess il
regard TO this intrlctable girl. He
learns all be wishes te know. To every
hing that he says to her she gives but
a simple reply " Which is the best
way to kill oneself, by steel or by
roper" Presently they pass into the
saloon to take tea
At the other cad OF the street now ap.
pears Djiye; his handkerchief is bound
round his head, he is pale, his eyes are
hollow, his legs tremble, and he exhib-
its all that physical weakening and those
material ravages which are produced
by a disorderly passion. In a long mute
scene the actor exhibits his grief,
his desp If, his weakness. He care
fully peers around for fear of meet
ing those pies who are to prevent him
from approaching the beautiful O'Hare.
he sea m one hnmnrar hnf haarinr