New-York tribune., 1901-04-06
OUT OF JAPAN.
IMPRESSIONS OF THE LIGHTER SIDE OF
LIFE.

JAPANESE PLAYS ANR @ LIIe doIS2ea Plates
osman Edwards Nltn ~. IMeiEe -, Vii vi Sfs John
Lane, ''~--~-
Recent writers on Japan have told US 50 iiiu0'i
shout the ways IN which the people are worhihs
TO take conspicuous rank in the company oi
,rodarn nations that Mr. Edwards does not. ap-
narentlv. thinL ii worth while to offer any more
information as to Japanese politics. lhuustts
education, and so We are not sorry hi'
book is the fresher and more readable fof oeai-
ing almost exclusively with the lighter sioe oI
JapsrAse life. He has studied IT in books. and
he has observed II the spot A little ieafiiiis
and some knowledge Of the language enable hlni
to discourse of japanese plays and songs WIZ.
critical authority but his lively enjoyment Oh
-h;ree seen in hours of mere pleasure is the
ch,ef source Of his interest for the reader ii
Sc ;,,e+ruc+iva TO read his description or Japan
csc re,iciois plays. which he compares 10 'he
miracle PLAYS and mysteries of the earlier Eui o
pean stage but his writing is more 10 the POM
when il drifts into a discursve account Oh ms ms
exper;ence of Eastern playhouses- Inc wen
ventilated theatre of the country is reahy the
scene of kind of indoor picnic Ihe pefloii"
ance goes on all day, there being two plays iaS'-
ing about four hours each, with an intermediary
tsbleau.
Turing the day every one eats ana ofiihs a. o. ;,
smokes The women take tee, the men sahv'
while the babies loudly and numerously lnloIpe @
milk PetWeen the acts when the haiusoIhe
curtains (often gifts from admrlng
10 a popular artist descend. the audience stroIis
ab0llr the ''undoba" large inclosure surfouIu, =
ing the theatre. in which the sta!lkeepers sen
refreshments photographs, toys. ana all kliloS M
Of ornamental kriclI-knacks. Tea houseS
surround the theatre as jackais q non. ~ ~
is not considered eenteel TO apply for seats az
TIE door Your only chance of a good place is
10 secure the kind offices Of teahouse proprle-
tor who will provide attendance AND reires4l-
roents besides taking charge Of your watch
nurse and any other article of value The TOXIC
pickpocket is very adroit, and constant patron
Of dramatic art Having left your shoes
at the teahoGse in exchange Tor a WOODEN @ cllecn
and sandals. you will be conducted TO pok allo
presented by a polite attendant with cushlon'
programme, tobacco box, tea and sweet cakes
with luncheon to follow. Now, at last you are
at liberty to observe the antics Of the actors.
The elocution at first seems painful but
thoueh tne actors tone is ''dsagreeably unnat-
ural." Mr. Edwards adds that his articulation
IS both distinct ana sOnorous. The sylla5les
crack on the ear like pistol shots" The men
who impersonate women are often Amazingly
skilful but their ''reedy falsetto" conveys dis
turning impression. The stage child is in Japan
1t seems, as everywhere else, an intolerable in
Fiction. Glr. Edwards finds an obstacle to illu-
zion in the enormous area Of the japanese stage,
and he mentions several other details slightly
tidious about scenery and accessories, for all
that he despises the Crumrnles real pump and
washtub." Sometimes the japanese go in for
realism with vengeance Mr.. Edwards says:
81 remember nelodrama, written by lieu
tenant in the japanese navy, in which the hero,
though encumbered 10y heavy piece Of ord
nance hoisted on his shoulders, cut down eight
assailants in turn in spite Of a terrific storm.
which drenched the company with real rain and
blew down real trees, planted that afternoon"
The Japanese actor is more important in the
popular eye than the author of the piece in
which he appears and is very well paid. A
leading actor will sometimes make $4,000 in
four weeks though when Mr.. Danjuru the emf
nent performer asked If he had really
gained that sum in a months season, he ac-
companied his admission with the grim decara-
ton that he had spent at least $4,000 in giving
away presents imposed by etiquette. This actor.
by the way, holds strong views on the subject
of the actor-nanager II think manager must
be soreiy tempted" he said, Ito put money first
and art second. / often advise authors TO make
certain alterations in the plays for which 1 am
engaged, but the responsibility of entire man
agement would distract from the purely
artistic aspect of representation" Curiously he
waved aside the opportunity TO learn something
about Western actors and acting from his inter
tion. He reflects in this the insularity OF his
public, as Indifferent here 1t is eager in other
fields of activity wherein the japanese believe
they profit by Western example. Mr.. Ed
wards was incautious enough TO press the mat
ter, and got his interpreter to ask why foreign
plays fail TO interest Mr. Danjuro's audiences.
The answer was crushing. Because IN ali your
plays the attitude Of men to women seems to
us not only irrational, but ridiculous"
oK-sarr ~
Mr.. Edwards permits himself some rather fanci-
ful talk about the very great charms of the
poetry he has gathered from humble sources in
the Orient. One need not take him too seriously
but one need not ignore. either. the engaging
note struck in some Of his examples Here is a
snow song:
Careless OF snowdrifts,
Nightly I seek thee:
Deeper The love lies,
Eeaped IN my heart.
The separation Of lovers is frequent theme in
fN~-a e ~