# PROGRAM

## I. "HOTOTOGISU"

A Tragedy in 4 Acts
Adapted by Seika Mayama

From Roka Tokutomi's Famous Novel under the
Same Title

### CAST

(The leading actors in order of appearance)

<table><tr><td>Lieutenant-general Kataoka.</td><td>SADANJI ICHIKAWA</td></tr><tr><td>Namiko, the eldest daughter of the General,<br/>now married to Takeo.</td><td>SHŌCHŌ ICHIKAWA</td></tr><tr><td>Takeo, a second sublieutenant.</td><td>YENNOSUKE ICHIKAWA</td></tr><tr><td>Okei, Takeo's mother, an old disciplinarian</td><td>TOSHI SAWAMURA</td></tr></table>

ACT I. The curtain rises upon the mansion of Lieuten-general Kataoka in Tokyo on a May day of the 27th year of Meiji (1894). The diplomatic relations between Japan and China are threatened with rupture, and both the army and the navy are preparing for war. As a result, the general who had been placed on the reserve list, has lately been restored to active service, and is leading a busy life.

The general now returns from the Department of War where he holds a post, and is waiting for a call from his eldest daughter Namiko, who was married a few days before to Baron Kawashima, a second sublieutenant.

Among the general's offspring, Namiko alone was gotten by his deceased first wife. She has never known the affection of her mother, and her step-mother has not been kind to her. The general particularly loved her, though he apparently made no discrimination in the treatment of all his family, and lately he has been worrying about her, not being sure whether she is happy in her marriage.

While waiting for his daughter, the general is visited by Hyōzō Yamaki, a purveyor to the Department of War, who with the secret purpose of making a fortune during the national crisis by speculation, tries to know from the general whether the war will break out or not. Realizing the merchant's selfish and unpatriotic intention, however, the general gives no information or hint regarding future events.

Chichiiwa, a lieutenant attached to the General Staff Office, also visits the general. He is Baron Kawashima's

cousin, who was brought up in the Baron's house on account of his family's financial difficulties. He has been so deeply in love with Namiko, that following her marriage with the Baron, he has been driven to despair. He has become a cynic and has even given up his ambition to distinguish himself in the army. On account of his mental attitude, he was easily bought over by Yamaki and has hitherto divulged to him for his speculation various military secrets. His present visit to the general has also been made under a previous secret arrangement with the merchant, but he has arrived so late that he fails to help the merchant in his attempt. Later, Namiko and Takeo Kawashima, her bridegroom arrive, and the general is greatly satisfied on realizing that his daughter is very happy in her marriage.

ACT II. SCENE 1: Yamaki's Luxurious Villa beside the Sumida River. About five months later, when the Sino-Japanese War had already begun. Toyoko, the purveyor's only daughter of wayward and slovenly nature, who was Namiko's classmate in a girls' high school and has been in love with Takeo, is now idling away her time at the villa in great disappointment owing to her lover's marriage. Chichiiwa arrives to see Yamaki. The officer asks the purveyor to stand surety for him, as he is intending to borrow three thousand yen from Okei, Takeo's mother and his own aunt, to make up the deficit caused by his failure in speculation. Though against his will, Yamaki is obliged to accept.

SCENE II. III. IV: Baron Kawashima's Mansion at Kōjimachi. Namiko is now suffering from a chest trouble, and the attitude of Okei, her mother-in-law, is becoming colder towards her. Chichiiwa instigates the mother of Takeo, chiefly out of his wish to satisfy his own jealousy, to isolate Namiko from Takeo, lest the latter, who is Okei's only offspring, should be infected by the fearful disease. Okei is moved and demands Takeo his wife's divorce besides her isolation, arguing that it is his duty to keep himself safe from infection to preserve the illustrious Kawashima family. Takeo is offended with his mother's suggestion which is only selfish and unsympathetic for his beloved wife, and flatly refuses to accept her request.

Meanwhile, Takeo learns that Chichiiwa has forged his private seal for borrowing from a usurer three thousand yen, after he had failed to borrow the sum from Okei. As Takeo has been displeased with Chichiiwa's attitude toward him since he has married Namiko, he pronounces at this opportunity the breach of friendship with him.

ACT III. SCENE: The Seashore of Zushi. Taking a

- 2 -

- 3 -

traitors' self-destruction by helping the progress of the dis-
cord that has arisen between Takauji and his younger
brother Tadayoshi. For the purpose, he even dares to
intercede with the Emperor on behalf of the traitors. Con-
sequently, he is often misunderstood by his friends, but
ultimately his efforts bear fruit, and the Emperor returns to
Kyoto, his capital, after the elapse of seventeen years.

The scenes of the play : 1 Masanori's castle at Tojō in
Kawachi province ; at the time when the Battle of Shijō-
nawate is approaching to end. 2. A country road near the
temporary palace in Yamato province ; three years later.
3. Before the graves of Masanori's brothers at the Sei-
ryōji temple on the outskirts of Kyoto ; the following spring
before the Emperor's return to the capital.

### III. “ONOYE-IDAHACHI”

A Play of a Roguish Ex-samurai in 3 Acts

By Kido Okamoto

One of the Ten Repertoire Plays of Sadanji Ichikawa

#### CAST

<table><tr><td>Idahachi, a samurai at the beginning of the play, later a rogue.</td><td>SADANJI ICHIKAWA</td></tr><tr><td>Onoye, his love.</td><td>SHŌCHŌ ICHIKAWA</td></tr><tr><td>Kisaku, a buffoon.</td><td>YENNOSUKE ICHIKAWA</td></tr><tr><td>Ushizō, Idahachi's underling after Idahachi has become a rogue.</td><td>TOSSHİ SAWAMURA</td></tr></table>

The scene is laid in the Yoshiwara Gay Quarter and its
neighbourhood in the third year of Yenkyo (1746). At
that time, the gay quarter was a famous centre of night life
in Yedo, the present Tokyo, and was not considered such
an immoral place as it is now considered. It was thought
rather a land of poetry, because although the inmates
of the gay quarter were courtesans, they were accomplished
women in various genteel arts and were refined enough to
be able to keep company with any man of rank and cul-
ture. This is the reason why the Yoshiwara has been often
treated in Kabuki plays.

*Synopsis*: Harada Idahachi, a retainer of the Lord of Tsugaru, who has been in service at Yedo, is infatuated with Onoye, a woman of the Yoshiwara, who reciprocates his love, and after three years' frequenting the gay quarter, he is brought to financial ruin. Moreover, he is dismissed by his lord for his negligence of duties, and he resolves in despair to kill himself. His beloved Onoye takes the responsibility of his failure upon herself, and proposes to share her fortune with him,

(Chiefly by the influence of Buddhism, there has been a tendency among the people of this country to make light of life and death and to expect happiness in the future life. The lovers disappointed with this world have often sought to be freed by death from the obstacles that prevent their union and have often committed double suicide, aspiring to become united in the next world. Such tendency was much intensified by the romantic literature of Chikamatsu, a distinguished dramatist of the Yedo era, who was most skilful in telling the story of the sympathetic lovers dying together.)

Now Idahachi and Onoye stab themselves with their own hands, but fail to take their lives. According to the law specially enacted for eradicating the wrong habit of double suicide, they are punished by being left to the public gaze for three days in the main street of Yedo.

The state of affairs of the double suicide which is attempted in Onoye's room in the Yoshiwara is represented in the opening scene as a dream of Idahachi five years after the happening. He awakes from the dream in the following scene, and finds his miserably ruined self at the foot of a big gingko-tree before a resting-house near the Yoshiwara.

Idahachi is now a complete rogue. By the help of Ushizō, one of his companions, he kidnaps a charming maiden of the resting-house whom he is in love with, and confines her in his dwelling. Onoye, who is now a strolling singer and is no more loved by him, lets the maiden escape, and is killed by him for revenge. In the meantime, Idahachi's theft of one thousand ryo comes to light, and he is arrested by his own younger brother Goshichirō who had succeeded his family in his place and is now a police officer.

### IV. “SHICHININ-SHŌJŌ”
or “SEVEN SHŌJŌS”

*A Musical Dance Play in One Act*

The play is derived from a “Nō” play and is based upon a Chinese legend that formerly there lived in the country a kind of beast resembling monkeys, called “shōjō”. These beasts are said to have been very fond of wine, had long yellow hair and were able to understand human speech. In this play, seven such beasts are represented by young promising actors. The scene represents a seashore. The seven shōjōs appear, take wine with a large cup from a big jar placed upon the beach and dance gaily under the influence of wine.

- 6 -

- 7 -

["雲上黑鷹", "皇國最高級清酒", "大\n彥\n本\n店", "東洋\n酒\n廠\n牌\n名\n酒\n廠\n牌\n酒\n廠\n牌\n酒\n廠\n牌\n酒\n廠\n牌\n酒\n廠\n牌\n

["### Part two ~ Akashi-by-the-Sea.", "A very sad story of parting of lovers by the seaside which is acted on the Akashi seaside. The story is also from the \"Genji Monogatari\".", "Nagauta Accompaniment", "### (3) ~ Kabuki Dances", "River-bed of Shijo, Kyoto in spring is the scene of merry dances by Okuni Idzumo, the originator of the present day Kabuki dances and Nagoya Yamazo to the mesmerizing tune assisted by six actresses.", "Kiyomoto Accompaniment", "### (4) ~ Ukiyoye Sugata", "#### Part one ~ \"Pictorial Calendar\".", "Scene - A down town house of hazy Yedo (old name for Tokyo). The play portrays young flower vendors bearing baskets of flowers of the Yedo Period. It is as beautiful as if the characters in the Ukiyoye prints came to life.", "#### Part two ~ Flower Dances.", "Plum, Cherry, iris and chrysanthemum, the four representative flowers of Japan constitute the background. Each of these flowers makes vivid appeal when songs and dances having", "particular relations with them are shifted with the change of scenery with their appropriate dancers.", "Intermission ~ 25 minutes", "## SECTION TWO", "### (1) ~ Yamato Damashii", "Nagauta Accompaniment", "Twenty dancing girls dance, lauding the Japanese swords which is consecrated on the alter in a large pavilion of Shinto Shrine style.", "Nagauta Accompaniment", "### (2) ~ Divine Blacksmith", "The scene represents swordsmith hammering Japanese sword with a divine hammering force before a background of the Inari Shrine.", "Orchestra Accompaniment", "### (3) ~ Martial Virtue of Sword", "Symbolical portrayal of divine swordsmith. The spirit of sword and the spirit of forge fire dance to the music of serene tunes. The spirit of the sword wins over that of the forge fire and the flame gradually dies away by the martial virtue of the spirit of sword.", "Nagauta Accompaniment", "### (4) ~ Prancing Spring Pony", "A dance depicting a man and his horse before a scenery of the Hachiman Shrine compound at Otokoyama.", "Nagauta Accompaniment", "### (5) ~ Yumiya Hachiman", "The scene is that of stone-steps of the Hachiman Shrine at Otokoyama. The dance portrays the preparedness of the fair sex for emergencies with their halberds.", "Tokiwadzu Accompaniment", "### (6) ~ Divine Guardianship of the Country", "The scene is the Go-oh Shrine on the Mt. Takao famous for its maple leaves. The shrine is dedicated to Prince Kiyomaro Wake of the noted Royalist. Five tea girls of the shrine who are dancing are joined by the Priest and his sister who arrived there for worship.", "## THEATRE", "Street, Tokyo,", "s\ns\ns\ns\ns\ns\ns\ns\ns\ns\ns\ns\ns\ns

THE
KABUKI-ZA THEATRE

Kobikichō, near Ginza Street, Tokyo,
Presents

Many Representative Kabuki Actors in a Series
of Seven Typical Kabuki Plays, in
the Inaugural Performance of the
Dan-Kiku Festival

From Wednesday, April 1 to Saturday,
April 25,

(approx.) 1936.

Curtain rises at 3 p. m.

1st and 2nd days, at 2 p. m.

PROGRAM

I. Uwanari

II. Ichinotani-Futaba-Gunki

III. Terakoya

IV. Sayaate

V. Shigemori-Kangen

VI. Musume-Dojoji

VII. Naozamurai

ADMISSION

Stalls and Dress Circle: ¥8.80, 5.50, 4.00

Upper Circle: ¥2.20, 1.10

1st day: About 30% discount.

Tickets sold in advance.

BOX OFFICE: Kobikichō (56) 4709

Complete Line of
VICTOR GRAMOPHONES and RECORDS
**JUJIYA GAKKITEN**
TOKYO GINZA

## FOREWORD

The bronze bust of Danjūrō Ichikawa IX and that of Kikugorō Onoye V, the outstanding Kabuki actors of the Meiji era who did much in bringing the Kabuki play to the present prosperity, have lately been erected in this theatre to immortalize their merits. In commemoration of the completion of the busts, a special performance is now being given at this theatre by almost all the representative Kabuki actors in a series of seven typical Kabuki plays, all of which were instrumental in establishing the great reputation of the late actors.

At this opportunity, it has been decided that the Dan-Kiku Festival will be celebrated at this theatre annually in April by giving a memorial Kabuki performance on a grand scale. This is then the inaugural performance of the Dan-Kiku Festival.

## PROGRAM

### I. "UWANARI"
or "JEALOUS THRASHING"

A Time-honoured Play in One Act
Setting by Nichinen Kususe
With Accompaniment of Ōzatsuma Music
One of the Eighteen Repertoire Plays of Danjūrō's Family

### CAST

<table><tr><td>Aoinouye, a noble lady.</td><td>KIKUNOSUKE ONOYE</td></tr><tr><td>Teruhi-no-Miko, a sorceress, in reality a woman's wraith.</td><td>SANSHŌ ICHIKAWA</td></tr><tr><td>Haruyo, Aoinouye's father.</td><td>TOMOYEMON ŌTANI</td></tr><tr><td>The Saint of Yokogawa.</td><td>HIKOSABURŌ BANDŌ</td></tr></table>

Among classical Kabuki plays, there is a series of posture dramas under the same title of "Uwanari" or "Jealous Thrashing". In them, the wraith of a woman abandoned by her lover appears before her rival in love who is now enjoying his favour, and troubles her even by giving her a thrashing. The wraith's action of jealousy is the feature of these plays, as in the one now presented. The story of the play is originated from "Genji-Monogatari" or "The Tale of Genji", a famous classical novel by Murasaki-Shikibu, in which is told the affairs of Hikaru-Genji, a very handsome prince and a love hunter in Kyoto of about a thousand years ago when the city was flourishing as the capital, and its outline is as follows:

Aoinouye, the wife of Hikaru-Genji, is now suffering from a strange disease for which no medical treatment is known. Her father Haruyo, a minister, judges that she may be possessed by some evil spirit, and invites Teruhi-no-Miko, a renowned sorceress to exorcize by her exertions the supposed evil spirit. Then under the disguise of the sorceress, the jealous wraith of a noble lady who had been deserted by Hikaru-Genji arrives, and severely worries the patient. In the end, however, it is exorcized by the Buddhist Saint of Yokogawa who arrives there invited, and Aoinouye is restored to health, as her illness has been also caused by the evil spirit.

The rôle of the wraith is played by Sanshō Ichikawa, the son-in-law of the late Danjūrō IX, after the fashion of the late actor.

## II. "ICHINOTANI-FUTABA-GUNKI"
or "TWO YOUNG WARRIORS' BRAVERY
AT ICHINOTANI"

A Classical War Play in One Act

### CAST

<table><tr><td>Kojirō, Naozane's son.</td><td>UZAYEMON ICHIMURA</td></tr><tr><td>Kumagai Naozane, an intrepid warrior.</td><td>KŌSHIRŌ MATSUMOTO</td></tr><tr><td>Hirayama Suyeshige, his malicious rival.</td><td>TOMOYEMON ŌTANI</td></tr><tr><td>Taira-no Atsumori, a young handsome commander of the Heike family.</td><td>UZAYEMON ICHIMURA</td></tr><tr><td>Tamaori-hime, his wife.</td><td>SŌJUHRŌ SAWAMURA</td></tr></table>

In this play is dramatized a famous episode of the Battle of Ichinotani in the third year of Juyei (1184), one of the great battles fought between the Genjis and the Heikes, two powerful military families that rose and fell alternately contending with each other for the reins of power.

The first scene represents the entrance of the Heike's encampment at the Suma beach near Ichinotani. Kojirō, a youthful son of Naozane, an intrepid warrior belonging to the Genjis, who aspires to win the honour of being foremost in attacking the enemy's encampment, appears on horseback but hesitates for a while before the entrance on overhearing the melodious sound of a flute coming from within. Suyeshige, Naozane's wicked rival, appears following the reckless son of Naozane, instigates him and lets him rush into the encampment. Naozane arrives there apprehending his son's safety, and on realizing the son's rash act, promptly follows him. In a few minutes,

- 2 -

- 3 -

Naozane succeeds in bringing his son back from the encampment, though the latter has been seriously wounded, and carrying him under his arms, Naozane hastens away. Atsumori, a young commander who has been in charge of the defence of the entrance, appears on horseback from the encampment and pursues Naozane and his son.

The second scene represents another part of the beach. Atsumori is brought to a duel with Naozane, but is held down by the stalwart warrior. The latter puts Atsumori's helmet off intending to stab his throat, and discovers underneath a flowery face of a youth apparently of high birth. Naozane is now moved with sympathy, as the youth is of his own son's age, and within himself harbours a wish to spare his life. He relaxes his hold on the youth, and recommends him to run away at once, but the youth disclaims to do so. In the meantime Suyeshige perceives Naozane in his attempt of rescuing the youth, and loudly exclaims that Naozane is a betrayer. Now in great confusion, Naozane is obliged to stab the handsome youth to death. Tamaori-hime, the wife of the murdered youth arrives and is overwhelmed with grief on finding there her husband's remains.

After the merciless murder of the youthful warrior, Naozane becomes heartily sick of the life of warriors. After the battle has finished, he gives up his occupation, and enters the priesthood to pray to Buddha for the happiness of the deceased youth.

### III. "TERAKOYA" or "A PRIVATE ELEMENTARY SCHOOL"

*A Classical Play in One Act*

#### CAST

Chiyo, Matsuō's wife. BAIGYOKU NAKAMURA

Tonami, Genzō's wife. TOKIZŌ NAKAMURA

Takebe Genzō, keeper of a private elementary school. KICHIYEMON NAKAMURA

Matsuō, an inspector. KIKUGORŌ ONOYE VI

Gemba, his accompanying officer. HIKOSABURŌ BANDŌ

This play is one act taken from a five act play in which Sugawara Michizane, a much respected minister of more than one thousand years ago is the hero. He was an erudite, a poet, a writer and a calligrapher of unusual talent. While he was enjoying the confidence of the Emperor Daigo on account of his great accomplishments and his gentle and sincere personality, Fujiwara Shihei, his

Cabinet colleague, calumniated him out of jealousy to the Emperor. As a result, Michizane was practically exiled to the remote Chikuzen province in Kyūshū, although he was appointed chief of an important office there. In spite of the cold treatment he had received from the Emperor, however, he never thought ill of his sovereign, and remained faithful to him to the last when he ended his life in adversity. Later he was deified among Gods on account of his lofty character. The many shrines called "Tenjin" or "Temmangū" which still exist all over the country are dedicated to him.

The scene of the act now presented represents the dwelling of Takebe Genzō, one of the leading disciples of the learned minister, in a village on the outskirts of Kyoto, the then capital. The minister has been exiled, and Genzō is sheltering the infant heir of his exiled lord in his house. The wicked Shihei who has successfully entrapped the innocent minister, now plans to take the life of the minister's heir, and on locating the heir's whereabouts in Genzō's house by the efforts of his retainers, orders Genzō to give him at once the decapitated head of the infant. Genzō is greatly perplexed and, at his wit's end, selects from among the pupils of the private elementary school which he is keeping, a little boy of noble appearance and of unknown identity, who had been admitted to enter the school a few minutes before, and sacrifices the boy's life on behalf of the lord's heir. Genzō produces the boy's decapitated head before Matsuō, an inspector, and Gemba, his cross-grained fellow official, when they arrive. Matsuō examines the head, and as he entertains no doubt, the inspection ends uneventfully.

After he has left his companion, however, Matsuō visits Genzō's house again with his wife, this time as a private man, and confesses to Genzō's great astonishment that he has knowingly overlooked the spurious head and that the sacrificed child is his own son whom he has sent to Genzō's school expecting Genzō's sacrificing him. Matsuō explains furthermore that he has wished to repay at this opportunity even at the sacrifice of his own son, the great

## BARBER SHOP
YOUNG-KEN

Leads All in the Orient
In Equipment and Skill
Hair-cut, Shaving
and Shampoo
60 sen

Immediate Service to All Customers

TAIKAKU BLDG. NEAR SUKIYABASHI, TOKYO
Tel. Ginza 1391

- 4 -

- 5 -

kindness he had received from the minister while he had
formerly been in his service. Then Matsuō ushers into
the house the exiled minister's wife whom he had saved
too from the malice of Shihei, introduces her to Genzō
and his wife, and lets her run away with her child saved
in the crisis.

## IV. "SAYAATE" or "RIVALRY IN LOVE"

### A Classical Play in One Act

#### CAST

<table><tr><td>Fuwa Banzayemon, a chivalrous dandy.</td><td>KŌSHIRŌ MATSUMOTO</td></tr><tr><td>Nagoya Sanza, do.</td><td>KIKUGORŌ ONOYÉ VI</td></tr><tr><td>Kamekichi, a head-fireman.</td><td>UZAYEMON ICHIMŪRA</td></tr></table>

This play is rather a gorgeous dramatical show, which
introduces to the audience all the actors now appearing
in this theatre. The scene is laid in the Yoshiwara gay
quarter in Yedo, the present Tokyo, during the age of
the Tokugawa Shogunate. At that time, the Yoshiwara
was a famous centre of night life in Yedo, the Shogun's
capital, and was a paradise of love and romance for people
of all classes. Although the inmates of the gay quarter
were courtesans, they were accomplished women in various
genteel arts; the arts of the tea ceremony, the flower
arrangement, the beautiful handwriting &c. The leading
inmates of the gay quarter who were distinguished both
in beauty and accomplishment were called *tayū*, and they
were refined enough to be able to keep company with
any man of rank or culture. Accordingly they were usually
regarded with a sort of respect by the people of the gay
quarter and also by the visitors, and in their bearing
there was something majestic.

For the townsmen who had long been oppressed by the
tyranny of the samurai, the Yoshiwara was the only place
of freedom. As the gold was almighty in the gay quarter,
they could satisfy their desire for a life of pleasure if they
had money, commanding equality of status with the

samurai. Therefore, it was not rare that taking advantage
of their influence of money, the merchants even outshined
a feudal lord in romance. Thus financed by the rich mer-
chants, the feudal lords, the petty nobles of the Shogun's
court and other such men of wealth, who frequented the
Yoshiwara, the *tayū* lived in pomp and luxury.

The nature of the inmates of the Yoshiwara was such,
that the gay quarter was not considered so indecent a
place. It was thought rather a land of poetry, and was
often introduced into plays and fictions, as is in the play
now presented. In this play, the Yoshiwara on a spring
night is represented, when the cherry-blossoms are in full
bloom. With the blossoms, many lanterns and various
other decorations, the Yoshiwara represented on the stage
seems to be a flower itself.

At that time, there was a kind of townsmen in Yedo,
who were brave, gallant and quarrelsome and were proud
of having chivalrous spirit. They were a product of the
peace and tranquillity prevailing throughout the Toku-
gawa era. At that time, spoiled by their leisurely life,
the warriors were inclined to depravity and were liable
to worry the innocent people of the lower classes by abusing
them with their swords. It was the arrogance of the
warriors that organized the townsmen above mentioned,
for the defence of their fellow citizens against the war-
riors' outrage. Fuwa Banzayemon and Nagoya Sanza,
the central characters of this play, are examples of such
chivalrous townsmen. The sort of people were getting
on well with the inmates of the Yoshiwara, and together
with the gay quarter, they were often treated in Kabuki
plays.

In this play, the two chivalrous dandies, Fuwa Banzay-
mon and Nagoya Sanza, meet in the Yoshiwara, and are
about to start a quarrel, but before coming to blows, an
arbitrator appears, who brings the quarrel to an end.

The rôle of the townsmen is taken by Kōshirō Matsu-
moto and Kikugorō Onoye, and the rôle of the arbitrator
by Uzayemon Ichimura. Other leading actors appearing
in this theatre make their appearance in two groups upon
the two *hanamichis*, the long outer passages leading to the
stage, one group in the guise of geisha, and the other in that
of patrons, chanting the praises of the three actors on the
stage in reference to their rôles. To praise the leading
players in such a way was a custom of the age of the de-
ceased actors in whose memory this performance is now
being given. It has been restored at this opportunity of
the memorial performance, and its preservation is expected.

Complete Line of
COLUMBIA and POLYDOR
GRAPHONOLAS & RECORDS
GINZA GINZADO TOKYO

- 6 -

- 7 -

V. "SHIGEMORI-KANGEN"
or "SHIGEMORI'S EXPOSTULATION"

A Historical Play in One Act
By Kawatake Mokuami
Revised by Shikō Yamazaki
Setting by Settai Komura
One of the New Eighteen Repertoire Plays of
Danjūrō's Family

CAST

<table><tr><td>Tamba-no Narimichi, a courtier.</td><td>NIZAYEMON KATAOKA</td></tr><tr><td>Taira-no Shigemori, the commander of the Imperial Guards.</td><td>UTAYEMON NAKAMURA</td></tr><tr><td>Taira-no Koremori, a warrior of the Heike family.</td><td>FUKUSUKE NAKAMURA</td></tr><tr><td>Taira-no Munemori, do.</td><td>SŌJUHRŌ SAWAMURA</td></tr><tr><td>Taira-no Kiyomori, the head of the Heike family, an ex-Premier.</td><td>KŌSHIRŌ MATSUMOTO</td></tr></table>

Another famous episode of the age is dramatized in this play, when the Genjis and the Heikes were opposing each other as is told in the illustration of the second play. The time of the episode is the first year of Yeiman (1165), when the Heike family was at the summit of its prosperity, and held all the important posts under the government. The place where the event takes place is Kyoto where then the government was.

**Synopsis**: Kiyomori, the head of the Heike family and an ex-Premier, is becoming so pretentious that Fujiwara Narichika, the steward of the retired Emperor Go-shirakawa, plans with his associates to overthrow the Heikes, but the plot is discovered before being carried out. Kiyomori puts Narichika to a close examination and judges from his defence that the ex-Emperor has also been privy to the plot. He determines to banish the ex-Emperor to a remote island, and calls all the men of his family together to his mansion at Nishihachijō to send them with their soldiers to the ex-Emperor's palace. Shigemori, his eldest son and the commander of the Imperial Guards, is among them. A man of unswerving loyalty, Shigemori, earnestly attempts to dissuade his father from impairing the dignity of the Imperial Household by resorting to his intended presumptious act. However, Kiyomori does not

- 8 -

listen to him, and the latter is obliged to make up his mind to stand against his own father for the sake of the ex-Emperor. He declares war upon his father and alone leaves the mansion. Then the other men of the family who have been moved by Shigemori's proof of fidelity and his reasonable argument, now follow him one after another, till only a few of them are left behind. Kiyomori surprised at the movement of the majority of his family, is convinced of the unrighteousness of his intended act, and ultimately gives up his project of banishing the ex-Emperor.

Utayemon Nakamura who takes the rôle of Shigemori has held the highest position among all the Kabuki actors. He is suffering from lead-palsy, yet his appearance on the stage is still enthusiastically demanded and applauded by large audience.

VI. "MUSUME-DŌJŌJI"
or "A GIRL AT THE DŌJŌJI TEMPLE"

A Classical Dance Play in One Act
With Accompaniment of Nagauta Music
Setting by Settai Komura

CAST

Hanako, a dancing girl.
KIKUGORŌ ONOYE VI
Ōdate Terutake, an intrepid warrior.
UZAYEMON ICHIMURA

Few dance plays are more exquisite than this classical dance play, in which the foremost Kabuki dance actor, Kikugorō Onoye VI appears. It is originated from the famous legend of Anchin and Kiyohime. The legend tells us that once Anchin, a young handsome priest of the Dōjōji temple in Kii province, was earnestly loved by Kiyohime, the daughter of a village officer in the neighbourhood. But, as to be related with woman in affection was banned to priests, Anchin always kept away from her. One day, however, he was met by the maiden and was pursued by her. He hurried back to his temple, and hid himself under a large bell. However, his whereabouts were soon found out by the maiden, and her burning indignation for his heartlessness, strange to say, transformed her into a monster serpent, which coiled round

- 9 -

the bell and melted it away with the heat of her passion.

The scene of the play represents the precincts of the Dōjōji temple where the inauguration festival of the new bell founded in place of the melted one is being celebrated. The maiden with the weird nature arrives under the disguise of a dancing girl to disturb the festival. She enchants the priests with her clever dancing and then touches the new bell hung in the air. Instantly it drops to the ground and she disappears in it. Now realizing the ghostly nature of the maiden, the priests pray for Buddha's help for exorcizing her, and by their prayer and also by the efforts of Ōdate Terutake, an intrepid warrior, the spirit is ultimately driven away.

## VII. "NAOZAMURAI" or "NAOJIRŌ, THE EX-SAMURAI"

A Classical Play of Love in 2 Acts
By Kawatake Mokuami

With Accompaniment of Kiyomoto Music

### CAST

<table><tr><td>Naojirō, a roguish ex-samurai.</td><td>UZAYEMON ICHIMURA</td></tr><tr><td>Jōga, a blind masseur.</td><td>TOMOYEMON ŌTANI</td></tr><tr><td>Ushimatsu, Naojirō's companion.</td><td>mitsugorō bandō</td></tr><tr><td>Michitose, a tayū, Naojirō's love.</td><td>nizayemon kataoka</td></tr><tr><td>Ichinojō, a fencing master.</td><td>Kōshirō matsumoto</td></tr></table>

A love story of a roguish ex-samurai and a tayū of the Yoshiwara gay quarter of which a description has been given in the illustration of the fourth play, is told in this play. The time represented is the age of the Tokugawa Shogunate, and the scene is laid in Shitaya in Yedo, the then capital of the Shogun and the present Tokyo.

In the opening scene, Naojirō, the roguish ex-samurai who has long been engaged in his sinful job, visits a buck-wheat shop in a snowy night, and happens to overhear Jōga, a blind masseur and a patron of the shop, telling the shop-keeper that he is going to a villa in the neighbourhood to give massage treatment to Michitose, the flourish-

ing tayū of the Yoshiwara who has been recuperating there, and also that the cause of her illness is the long silence of her beloved Naojirō. Naojirō instantly writes a letter to her informing of his intended visit to the villa and asks the masseur to deliver it to Michitose.

Ushimatsu, one of Naojirō's companions, arrives and warns Naojirō that they are sought for by the police, as their crime has been discovered. Naojirō makes up his mind to run away at once, but before doing so, he wishes to see his beloved Michitose. After telling Ushimatsu of his proposed visit to the villa and the plan of his escape, he bids farewell to Ushimatsu. Being left alone, Ushimatsu is tempted by the idea of commuting his own punishment by giving himself up to the police and also by informing them of Naojirō's whereabouts. He now follows Naojirō to ascertain his destination.

In the second scene, the villa is represented. Naojirō arrives, and on seeing Michitose, he confesses his sinful career which he has hitherto kept from her, tells her of his immediate need of escape, and asks her to give up her love for him. In spite of the revelation, however, Michitose does not accept to be separated from him, as she is so deeply in love with him, and entreats him to take her away with him.

Kaneko Ichinojō, a fencing master and Michitose's patron who is calling himself a night-blind, arrives. He is in reality Michitose's elder brother who had been separated from her in her infancy, but he has kept his identity secret for a certain reason and has continued to take care of her under the disguise of her patron, and pretending to be handicapped by a weak sight. He now perceives the depth of Michitose's affection for Naojirō, and out of sympathy wishes to unite her with her beloved, although he has no good feeling for Naojirō, the roguish ex-samurai. Ichinojō now delivers to Michitose the receipt of her own ransom, as he had secretly contracted her redemption, and tells her to run away with Naojirō. From Ichinojō's real name written on the receipt, Michitose now realizes to her great astonishment that he is her own brother. Just at this juncture the raiding constables, informed by Ushimatsu, rush into the house to arrest Naojirō, but he successfully makes good his escape, though he leaves Michitose, alone behind.

- 10 -

- 11 -

“SAYONARA”

MENU

Coupe Printaniere au Kirsch
Hearts Artichoke Greek

Romanoff Caviar sur Canapes
Antipasti Soprana
Smoked Oyster

Consomme Turtle Amontillado
Chicken & Clam Belle-Vue & Toasted Butter Cracker

Cream of Tomato St. Louis

Hearts Celery

Green & Ripe Olives

Salted Nuts

Broiled "Akashi-Tai" Parsley Butter
Baked Lobster Thermidor & Long Branch Potatoes

Larded Sweetbread a la Talleyrand
Saddle of Lamb, Marie Tempest
Broiled Quail Petit Duc
Asparagus, Mayonnaise Sauce

Suckling Pig, Champagne Sauce & Baked Apple
Vermont Young Turkey, Chestnuts, Cranberry Sauce
Prime Rib of Beef au Jus, Horseradish, Yorkshire Pudding
New String Beans Saute

Cauliflower, Hollandaise

EXTRA Azuki-Gohan & Chawan-Mushi

Game Pie

Roast Lamb

Corned Tongue

Swift Ham

Escarole, 1.000 Island Dressing

Plum Pudding, Cream Sauce
Glace a l'Orientale, Petite Fours
Ornamented Farewell Cake

Hot Mince Pie, Hard Sauce

Allumette de Fromage

Desserts Fruits Cafe

M. S. "CHICHIBU MARU"
Wednesday, March 18th, 1936.

THE
KABUKI-ZA THEATRE

Presents

Many Representative Kabuki Actors in
a Famous Classical Play of Vengeance
From Tuesday, March 3 to Friday,
March 27,
(approx.) 1936.

Curtain rises at 3 p.m.

1st and 2nd days, at 2 p. m.

PROGRAM

Chūshingura

—A Play in 8 Acts—

ADMISSION

Stalls and Dress Circle: ¥6.50, 4.00, 3.00

Upper Circle: ¥1.40, .70

1st day: About 30% discount.

Tickets sold in advance.

GINZA GINZADO TOKYO

Complete Line of
VICTOR GRAMOPHONES and RECORDS
JUJIYA GAKKITEN
TOKYO GINZA

“SMILE”

JAPAN'S
Most Famous

EYE LOTION

Sold at drug stores
throughout this country

# PROGRAM

## "CHŪSHINGURA" or "THE STORY OF THE FORTY-SEVEN FAITHFUL RETAINERS"

### A Time-honoured Play of Vengeance in 8 Acts

### CAST

<table><tr><td>Kōno Moronō, wicked chief steward of the Shogun.</td><td>YENJAKU JITSUKAWA</td></tr><tr><td>Momonoi Wakasanosuke, a young hot-tempered daimyō.</td><td>KŌSHIRŌ MATSUMOTO</td></tr><tr><td>Yenya Hangan, a daimyō of gentle disposition.</td><td>UZAYEMON ICHIMURA</td></tr><tr><td>Kaoyo, his wife.</td><td>NIZAYEMON KATAOKA</td></tr><tr><td>Hayano Kampei, his footman.</td><td>UZAYEMON ICHIMURA</td></tr><tr><td>Okaru, Kaoyo's lady's-maid.</td><td>NIZAYEMON KATAOKA</td></tr><tr><td>Ishidō Umanojō, an official of the Shogunate.</td><td>YENJAKU JITSUKAWA</td></tr><tr><td>Yakushiji Jirōzayemon, do.</td><td>SANSHŌ ICHIKAWA</td></tr><tr><td>Ōboshi Yuranosuke, Hangan's trusted chief retainer.</td><td>KŌSHIRŌ MATSUMOTO</td></tr><tr><td>Ono Sadakurō, a highway-man.</td><td>KŌSHIRŌ MATSUMOTO</td></tr><tr><td>Osai, proprietress of a house of ill fame.</td><td>TAGANOJŌ ONOYE</td></tr><tr><td>Fuwa Kazuyemon, Yuranosuke's confident.</td><td>KŌSHIRŌ MATSUMOTO</td></tr><tr><td>Teraoka Heiyemon, Okaru's brother.</td><td>YENJAKU JITSUKAWA</td></tr><tr><td>Shimizu Ikkaku, a fencing master, Moronō's special employé.</td><td>UZAYEMON ICHIMURA</td></tr><tr><td>Omaki, his elder sister.</td><td>NIZAYEMON KATAOKA</td></tr><tr><td>Takebayashi Tadashichi, Yuranosuke's adherent.</td><td>NIZAYEMON KATAOKA</td></tr></table>

A famous historical event is dramatized in this play, which took place in the 14th year of Genroku (1701), during the rule of the Tokugawa Shogunate. Those who brought about the event were forty-seven loyal retainers of Lord of Akao. They avenged their lord's death after many days of untold difficulties, by sacrificing themselves and even their own families. During the time of feudalism, to achieve vengeance was considered a warrior's duty, so that the retainers became the object of great public admiration. Instantly, plays about their loyalty were written for Kabuki actors and also for the puppet show which were then enjoying great popularity. The play now staged is one of them. This play was revised several times in later years, and the way of staging it was improved by the actors of

- 2 -

successive generations, till it has been brought to perfection. Thus, the loyalty of the retainers told in the play is still causing a great impression upon the audience of the present day.

As the dramatization of contemporary events was prohibited by the Tokugawa Shogunate, the deed in this play is represented as occurring during the rule of Shogun Ashikaga, about four centuries previous to the date of the happening.

Before the play begins, a puppet is presented before the curtain, according to the custom transmitted from the time when the Kabuki play and the puppet show were closely related with each other, and by manipulating it, the cast is announced to the audience.

### ACT I. SCENE: The Tsurugaoka Shrine at Kamakura.
When the curtain rises, Ashikaga Tadayoshi, the Shogun's younger brother despatched by the Shogun to attend as his representative at the inauguration festival of the Tsurugaoka shrine, is seen in the centre of a large gathering before it, attended by Kōno Moronō, the Shogun's old chief steward of a wicked nature, and Momonoi Wakasanosuke and Yenya Hangan, the reception committees under Moronō's direction, both daimyo, and many others.

The Shogun's proxy pronounces to dedicate to the shrine the precious helmet, which Nitta Yoshisada, a mighty warrior whom the Shogun has destroyed in a recent battle, had received from the Emperor Godaigo and had been wearing till his death. Then Moronō, the old steward, objects to the dedication on the ground that it is difficult to pick out the genuine one from among the forty-seven helmets found in the battle-field. Wakasanosuke tries to remonstrate with Moronō on his impoliteness in criticizing the declaration of the Shogun's proxy, and the old steward is greatly displeased. He haughtily calls himself Wakasanosuke's superior, and declares in foul language that he will not follow his direction. Being young and hot-tempered, Wakasanosuke dares to try to dispute with Moronō, but is stopped by Hangan, who mediates between the two.

## BARBER SHOP YOUNG-KEN

Hair-cut, Shaving
and Shampoo

60 sen

- 3 -

The Shogun's brother summons before him Kaoyo, Hangan's wife, who was once attending the Emperor Godaigo as a court lady and who is supposed to know well the details of the helmet given by the Emperor to Yoshisada, and bids her to distinguish it from among the forty-seven helmets now carried before her in a big chest. By her knowledge, the veritable helmet is picked out at last, and the Shogun's proxy orders in satisfaction to offer it to the shrine. Now he withdraws with his followers to the resting place, and Kaoyo is left alone with Moronō.

The steward, having been enamoured of her, makes advances to her taking advantage of the opportunity. He tells her that her husband's success or failure in his difficult duties to perform in the coming formal reception feast, rests solely on her reply, and demands her to accept his love. Wakasanosuke reappears, and perceiving what has been going on, recommends Kaoyo to leave the place. Again offended with Wakasanosuke, Moronō abuses him rudely, till burnt with rage he is on the point of drawing his sword to slay the steward.

Just at this juncture, the departure of the Shogun's proxy is announced, and Hangan reappears to call for them. He perceives them in excitement, and again arbitrates between them.

**ACT II** is omitted this time, but this is a rough outline of the events that take place in it: Wakasanosuke reveals to Kakogawa Honzō, his principal retainer, his firm resolve to slay Moronō, the insolent steward, at the time he will see him again in the coming reception feast. Honzō, being well aware of the stubbornness of his young lord, who gives no ear to any expostulation, does not try to dissuade him. He determines instead to make a good present, without the knowledge of his lord, to Moronō, who has a very covetous nature, and ask the steward to treat Wakasanosuke with more tact, and enable him to perform his difficult mission of a reception committee in the feast.

**ACT III. SCENE I: Before the Gate of the Palace,** where the Shogun's brother is lodging, and on the day of the reception. Moronō arrives in a palanquin at the gate of the palace where the feast is to be given. Then Honzō, the principal retainer of Wakasanosuke, overtakes him and makes his intended entreaty, after offering him a valuable present.

As Honzō has expected, the steward is greatly satisfied with the gift and is ready enough to accept his request. In good humour, he takes Honzō into the palace saying that he will show him the ceremonial reception. Later,

- 4 -

Hangan comes along also in a palanquin and disappears into the gate.

Following the palanquin, Okaru, a beautiful lady's-maid in the service of Kaoyo, Hangan's wife, arrives with a letter-case entrusted by Kaoyo to be presented to Moronō by the hands of her husband Hangan. Okaru's lover Kampei, Hangan's footman who has just accompanied his lord's palanquin into the gate, comes out, and finds Okaru there whom he is also deeply in love with. He carries the letter-case to his lord on her behalf, and in his absence, Sagisaka Bannai, Honzō's follower, who has been enamoured of Okaru, appears and makes love to her. Kampei returns there, dispels the follower and withdraws with Okaru to have a happy tête-à-tête with her.

**SCENE II: A Corridor in the Palace.** Wakasanosuke is restlessly waiting for the arrival of Moronō, and as soon as he perceives him, he rushes towards him for slaying him. Then quite contrary to his usual arrogance, Moronō humbly throws out his sword before him in proof of his absolute obedience, prostrates himself upon the floor and begs for Wakasanosuke's forgiveness for his impoliteness of the other day. Being ignorant of his retainer's bribing, Wakasanosuke is dumbfounded at the unexpected change in Moronō's attitude, and is too damped to slay him.

After Wakasanosuke has left, Hangan arrives. As the mean steward has been displeased with Hangan for not making any present to him, he, now restored to his original perverseness, begins to abuse Hangan, finding fault with his late arrival. Hangan gently asks Moronō's pardon, and then offers the letter case sent by his wife to Moronō. Moronō instantly comes to a hasty conclusion that Kaoyo has sent some favourable reply for his seduction of the other day, probably asking to make her husband perform his duty faultlessly during the reception. With great delight in his heart, Moronō opens the case and finds in it a waka or 31-syllable ode suggesting her refusal. He is displeased and turns the displeasure on her husband. Hangan, knowing nothing of the reason of Moronō's bad humour, simply thinks that the steward may be under the influence of liquor, and tries to appease him. However, Hangan's attempt only instigates Moronō's anger still more, and the latter begins to heap severest insults and groundless abuses upon Hangan, till Hangan, although a gentle and considerate daimyo, can no more control his rage. Hangan is well acquainted with the law which ordains that one who draws one's sword in the palace should be

- 5 -

punished by death, one's family be put to extinction and one's fief be confiscated; yet he dares to unsheathe his sword and tries to slay the insolent steward. Honzō, the principal retainer of Wakasanosuke, rushes out of an adjoining room and takes hold of Hangan from behind. Thus prevented, Hangan can not accomplish his intent. Moronō only receives a wound upon his forehead, and fortunately escapes death.

### SCENE III: *The Back Gate of the Palace*
Kampei, the footman who has been forgetting himself in his secret meeting with Okaru, comes to the gate intending to accompany his lord to his mansion, and is told that his lord has already been sent to his mansion in a criminals' palanquin after his violation of the laws. Kampei deeply regrets not to have returned in time, and feels that he can no more present himself before his lord. To atone for his fault, he tries to kill himself, when Okaru arrives and stops him. She reasons with Kampei about the thoughtlessness of his attempt, and recommends him to ask the lord's pardon through Ōboshi Yuranosuke, the lord's principal retainer, who will come up before long from the lord's fief. Kampei accepts, and determines to go to Okaru's home with her to live there together as she wishes.

### ACT IV. SCENE I: *Hangan's Mansion*
Hangan who has been sentenced to death by the law, is now about to kill himself before the two officials of the Shogunate sent to witness his suicide. Going through the due formalities of a warrior's suicide, he anxiously waits for the arrival of Yuranosuke, his trusted chief retainer, from his fief, but the retainer does not seem to arrive in time. Ultimately giving up his desire to see him, Hangan commits *seppuku* (suicide), when Yuranosuke enters in haste. He hurries to the presence of his lord who is now going to breathe his last, realizes from his expression his deep regret in having failed to slay Moronō, and gives him a veiled assurance of avenging his death upon Moronō, at which Hangan seems to be satisfied and passes away.

After giving some directions about the evacuation of the mansion according to the law, the officials withdraw, and Hangan's remains are instantly carried in a palanquin to his family temple by several of his retainers. The retainers left behind discuss before Yuranosuke who is sunk in deep thought, about the measures to be taken now. They agree in their great dissatisfaction about the partial treatment of the Shogunate which only punished Hangan

- 6 -

and does not mete out any punishment to the wicked steward who is the origin of the event. Thus ultimately they decide to stand against the evacuation of the mansion and to follow their lord to the grave after defending the mansion to the last.

Yuranosuke is pleased with the intensity of their loyal feeling, but does not agree with them. After sending away Ono Kudayū, an old avaricious and untrustworthy retainer, Yuranosuke reveals to them his secret resolve to avenge his lord's death upon Moronō, insisting that the object to have a spite against is not the Shogunate, but Moronō himself. The retainers are convinced. They now accept to evacuate the mansion following Yuranosuke's directions, and also swear to support him hereafter with absolute obedience.

### SCENE II: *Before the Mansion*
Rikiya, Yuranosuke's son, and other retainers who have accompanied the lord's remains to the temple, return. They firmly refuse Yuranosuke who now comes out of the mansion, to deliver the mansion to the Shogunate and maintain to fight even with the government. Yuranosuke again argues with the obstinate retainers and makes them withdraw. Now left alone, Yuranosuke takes out from his bosom the blood-stained dagger with which his lord has put an end to his life, and renewing his sorrow for his lord's misfortune, swears to himself to wreak vengeance.

### ACT V. SCENE: *The Yamazaki Highway*
Kampei, the footman who had run away with his love Okaru to her home, is now married with her and is living with her family as a hunter. He has an ardent wish to join the party who are secretly planning vengeance, but he can not, as he has not 100 ryō, the contribution of which is necessary for the participation. Yoichibei, his father-in-law, sympathizes with him, and resolves to make him take part in the honourable and praiseworthy attempt by any means. After privately consulting with Okaru, Yoichibei visits the Ichimonjiya, a house in the Gion gay quarter in Kyoto, and contracts with the proprietress to put Okaru in service for 100 ryō. With 50 ryō paid to him in advance, Yoichibei leaves for home at night, and comes along the Yamazaki highway at the beginning of this scene.

Ono Sadakurō, son of Kudayū, the old avaricious retainer of the deceased Hangan, lies in wait for Yoichibei, and robs him of the 50 ryō after putting him to his sword. At this juncture, a wild boar comes running and passes beside him. Instantly the discharge of a gun is heard and Sada-

- 7 -

kurō falls to the gun. Before long, Kampei appears with a gun. He approaches to the place where the game seemed to have fallen, gropes about in the darkness for the carcase of the animal and stumbles over Sadakurō's body. He examines the body and realizes to his great astonishment that he has shot the man by mistake. He searches at once for some medicine in the man's pocket, and the heavy purse which Sadakurō has just robbed of Yoichibei, is touched by him. Kampei is tempted by the purse, as he has been so anxious for money to join the vengeance party. After some hesitation, he takes it as a gift from heaven, and hastens away.

### ACT VI. SCENE: Yoichibei's House.
The next morning. The proprietress of the Ichimonjiya calls at Yoichibei's house to take Okaru away with her. After having paid the balance of the contract sum to Okaya, Yoichibei's wife, the proprietress lets Okaru ride in a palanquin and is about to leave with it, when Kampei returns from his all night hunting. He is now told by his wife of her sad sacrifice for his sake, and extremely regrets to send her to the demi-monde quarter. Yet the contract has already been concluded, and it is the only thing he can do to see her off taken away by the proprietress of the Ichimonjiya.

After a while, several villagers carry Yoichibei's remains in. Okaya is overwhelmed with grief at the unexpected death of her husband. After the villagers have left, Okaya happens to recollect that a few minutes before she had seen Kampei keeping with him her deceased husband's purse smeared with blood, and jumps to the conclusion that Kampei has killed her husband to rob him of the purse. Kampei can not clear up her suspicion, as himself is now thinking that she may be right in her suspicion, so far as the fact is concerned. Okaya now calls Kampei her husband's murderer, and frantically gives him a thrashing.

Fuwa Kazuyemon and Senzaki Yagorō come in, who are members of the party planning the vengeance and have been using their influence for Kampei to enable him to join the project. They are told by the bereaved wife of Kampei's murder and robbery, are surprised at his atrocity and refuse to make any more efforts for him. In despair, Kampei commits suicide, and explains under his weakening breath, the happening of the night before, emphasizing that he fired at a wild boar, and the bullet killed his father-in-law by mistake. The visitors examine the wound on Yoichibei's body and discover that it is not caused by a

- 8 -

bullet but by a sword. At the same time, they remember that on their way to this house they saw Sadakurō's remains with a bullet wound, and now realize that Kampei is innocent for the death of his father-in-law. They heartily regret Kampei's rash act of killing himself, and in an attempt to console the dying man, his name is added to the list of the members of the party. Kampei highly appreciates their kindness, and passes away in satisfaction.

### ACT VII. SCENE: The Ichiriki Restaurant at Gion, Kyoto.
Yuranosuke, the leader of the projected vengeance has recently been given to pleasures to camouflage his resolve. When the curtain rises, he is seen merry-making at his favourite tea-house. Soon he finds himself alone, takes out from his bosom a secret letter regarding the vengeance which he had received from Kaoyo, the wife of his deceased lord, and begins to read it in the light of a lantern hung near the verandah. Okaru, who is now a geisha, and had been attending Yuranosuke till a few minutes before in his merry-making, reads the letter from a room upstairs by reflecting it in a mirror out of mere curiosity. Kudayū, the old avaricious retainer of the deceased Hangan, who had turned a traitor and has served Moronō as a spy, also reads the letter from under the verandah where he has concealed himself. Soon Yuranosuke notices the two persons' existence, and knows that the letter's secret has been stolen by them. He is much confused, yet covering his consternation he innocently calls Okaru downstairs and abruptly promises to ransom her, with the intention of killing her after her release from bondage in order to prevent his secret from leaking out. Being ignorant of his intention, Okaru is greatly pleased to be able to become free, and sends Yuranosuke to her mistress to negotiate about her ransom.

While Okaru is left alone, her elder brother Teraoka Heiyemon arrives from home to see her. He was a footman in the service of the late Hangan, and has an anxious desire to get Yuranosuke to achieve the vengeance. Referring to Yuranosuke's fast life of the past days, Heiyemon gives vent to his apprehension that Yuranosuke might have given up his purpose of vengeance. Then Okaru assures her brother that he needs not worry about Yuranosuke's mind, and tells him of her reading the secret letter and also of Yuranosuke's sudden proposal of ransoming her. Heiyemon instantly realizes for what purpose Yuranosuke has determined to redeem her, and makes up his

- 9 -

mind to sacrifice his sister's life by his own hands for the success of vengeance. Suddenly Heiyemon tries to kill Okaru with his sword, and the latter in astonishment dodges about to escape him. Now Heiyemon reveals to Okaru, the reason why she must be killed and asks her to be slayed by him. If her life be sacrificed by his hands, he emphasizes, his loyalty to Yuranosuke is proved absolutely, and he will surely be allowed by Yuranosuke to take part in the coming attack on Moronō. Beside making the request, Heiyemon tells Okaru of the death of her beloved husband Kampei and that of her father Yoichibei. Okaru is extremely disappointed and loses interest in this world. She now accepts to give up her own life for her brother's sake, and places herself under his blade.

Yuranosuke who has been overhearing their talk, now appears before them, and stops Heiyemon from killing his sister. He says that as their faithfulness is now beyond doubt, Okaru's life needs no more be lost, and admits Heiyemon to join the vengeance party.

Kudayū, the traitor concealing himself under the floor is stabbed to death by Yuranosuke with his sword, and thus Yuranosuke's secret is still kept from leaking out.

(The above are acts from "Kanadehon-Chūshingura" which will finish with the eleventh act. This time the remaining acts are replaced with the following two acts which are extracted from another classical play on the same subject.)

### ACT VIII. SCENE I: Jōzayemon's Dwelling.
Jōzayemon, one of the fencing masters who have been specially engaged by Moronō providing against the attack of Han-gan's retainers, is giving a year-end party in his dwelling. Shimizu Ikkaku, his comrade whom he did not invite on account of being on bad terms with him, happens to pass by in a state of intoxication, and overhears the people in the house talking with one another that they can sleep peacefully, now that it is obvious that Yuranosuke has no more the intention to avenge his late lord, judging from his recent life of debauchery. Ikkaku instantly steps into the house and begins to maintain that Yuranosuke is not the man they thought him to be, and that some day he would surely attack their employer.

— 10 —

Regarding Yuranosuke's personality and intention, Ik-kaku and Jōzayemon are brought to a violent dispute, and in the end Ikkaku is even turned out of the house by Jō-zayemon. Yoichirō, Ikkaku's younger brother, happens to come along, and takes his tottering brother home with him.

### SCENE II: Ikkaku's Dwelling.
Ikkaku, being an un-usual wine lover, wishes to drink more at home. Omaki, his elder sister, admonishes him for his immoderate drink-ing, but he takes no notice of what she says, and falls asleep while she is speaking. Before long, the sound of a drum is heard, and Ikkaku suddenly awakes. He now entirely recovering his soberness, realizes from the manner of the drum beating that Yuranosuke and his company have arrived for attack. He begins to prepare himself in haste for fighting with them, and in the meantime Jōzaye-mon appears at the door. He acknowledges that he has been wrong in his opinion about Yuranosuke, and begs Ikkaku's pardon for his rudeness of a few minutes before. Ikkaku frankly forgives him, and hastens with him for the defence of Moronō.

### ACT IX. SCENE I: Before Moronō's Mansion.

### SCENE II: The Inner Garden of the Mansion.

### SCENE III: A Charcoal-store in the Mansion.

Both Ikkaku and Jōzayemon bravely fight with the at-tacking party, but ultimately fall. Moronō, the object of the party's vengeance, is found in a charcoal-store in the mansion, where he has been concealing himself, and is slayed by the avenging swords of the loyal retainers. On the side of the retainers, not a life has been lost in the attack, and thus their long-purposed vengeance is achieved with great success.

Later, the loyal retainers offer the decapitated head of Moronō before their lord's grave, and inform the departed soul of their achievement of vengeance. On account of their crime of murder, they are sentenced to death, but they never regret to die. Greatly satisfied with their suc-cess, they all commit *seppuku* with perfect composure.

— 11 —

TŌEIZAN

THE SECOND MAUSOLEUM OF THE TOKUGAWA DYNASTY.

HISTORY OF ITS BUILDING.

The present building was established on February 29, 6th year of Hōei (1709), and the ceremony of "Gosenza" was held on November 19 of the same year in the temple.

LIST OF THE HOLY SPIRITS ENSHRINED HERE:

Jōken-inden Zō Shōichii Taishōkokukō,
(Tsunayoshi Tokugawa, 5th Shōgun,
deceased on January 10, 6th year of Hōei (1709).

Yūtokuinden Zō Shōichii Taishōkokukō,
(Yoshimune Tokugawa, 8th Shōgun,
deceased June 20, 4th year of Kan-en (1751).

Onkyō-inden Zō Shōichii Taishōkokukō,
(Iyesada Tokugawa, 13rd Shōgun,
deceased on August 8, 5th year of Ansei (1858).

Kōkyōinden Zō Shōichii Taishōkokukō,
(Iyemoto Tokugawa, eldest son of Iyeharu, 10th Shōgun.
deceased on February 24, 8th year of An-ei (1779).

Tenshōinden,
(Wife to Iyesada Tokugawa, 13rd Shōgun,
deceased November 20, 16th year of Meiji (1883).

VISITORS ARE REQUESTED:

(1) To keep quiet during the visit.

(2) To behave in respectful manners. (The inebriated are declined admittance).

(3) To follow the wishes of the guide.

(4) Not to touch the building and its belongings with their hands.

(5) Not to carry canes and umbrellas inside the temple.

(6) To enter their names and addresses upon the name-book.

(7) Not to use magnesium in case of photographing.

TEA CEREMONY

The original spirit of the art of the tea ceremony is based on contentedness and quietude, and under the principles of courtesy and decency.

The fundamental idea is social justification, the rich and the poor well judging of their circumstances and allotments and avoiding either extravagance or parsimony.

The wealthy and noble may use at their tea-party priceless treasures, but we should not consider this merely luxury but should regard it as the host's effort to entertain his visitors with utmost respect, and not the least self-conceit or haughtiness should be implied on his part.

The courtesy and moral sense in the tea-ceremony are derived from the doctrines of Confucianism and the unique principle of the tea services is grounded on Buddhism especially on the spirit of the Zen Sect. Consequently, the courtesy practiced on occasions of tea-ceremonies and that taught by the Confucianism are not at all different, in other words, the profound theory is only put in practical use in its simplicity. The clean and nice arrangement of the room, reception of the guests and the manner and behaviour during performances are all under proper orders.

The host is understood to always associate with his friends in humanity, in noble character and in good manners and it is really the true intention of the tea ceremony to promote and to render a great service to the public morality through the influence of virtue accumulated by gentle and meritorious deeds, the feeling founded on humanity and the spirit of coexistence which encourage and induce the good and standard popular manners.

The spirit of the tea ceremony transcends materialism and tries to show the truth of the Universe, and appreciates various tastes in accordance with the laws of the Nature.

The disposition of the tea-votary in general, therefore, seems to have no reserve and to be free from anxieties. With mint at ease, the tea-party is opened and each assimilates with the nature and enjoy an Utopia: inspecting a landscape garden, studying with pleasure writings, paintings and tea-utensils, burning incense, looking at ceremonial flower-arrangement, appreciating the taste of tea and thus the host and the guests have heart-to-heart talks with frank and open minded, spending an amicable day of deep and tasteful enjoyment with their life-long acquaintances.

The taste of the tea-ceremony is indeed elegant, classical, refined and graceful.

There are two forms of tea-ceremony: one is called "Shoin-Shiki" or formal and the other "Soan-Shiki" or simple.

The former is an original performance and it ought to be performed in a room of four and half mats or more, namely of six, eight or ten mats, and in a rather bigger room than usual, decorated with a stand and shelves and the tea is made under rigid and solemn regulation, Soan-Shiki is performed in a room smaller than four and half mats and often in a room of two, or four mats. In this case there is no stand or shelf, but the tea is simply made under abbreviated rules. This conveys the idea of simplicity and plainness.

Tea Utensils: Midzusashi (receptacle for fresh water), cha-ire (tea-caddy), cha-sen (tea-whisk), cha-kin (tea-cloth), cha-shaku (tea-spoon), koboshi (receptacle for waste water), hishaku (dipper), futaoki (a small piece of bamboo or pottery for placing the cover of the kettle or the dipper), and tea-bowl.

FLOWER ARRANGEMENT

From the earliest times of which we have record, the Japanese, rich in the instincts of fine art and love for the beautiful, have loved flowers with a peculiar and intense devotion, and have spared no pains to cultivate them. Of this love for nature and of her floral offerings, no one having even a superficial acquaintance with that country can be unaware. They do not cull at random, but carefully select each branch or spray with an eye to the artistic composition they have in mind.

That this deep love of flowers—this devotion, as it were, to the delicate handiwork of nature—had crystallized into an art and a science presenting a highly artistic and altogether delightful appreciation of the floral charm, which had during centuries found so refined and sincere an expression as to make it one of the polite accomplishments of refined Japanese, is not generally known. But residents of Japan, and students from abroad, know that this gentle art is governed by rules of strictest ceremony and etiquette and is cultivated by priests and teachers and practiced by all well-educated women and girls as well as men of the Empire.

The theory of the sanctity of life and its ever changing relation—on which is based this delightful artcraft science as applied to flowers by the Japanese, —is individual to that people. Because of this, growth, life and vitality must be expressed by the flowers used in the adornment of interiors. All designs and arrangements, therefore, must present an idea of actual growth of the component parts. To achieve this, as much attention must be paid to stems and branches as to the foliage and blossoms themselves.

Life and vigor are the key-note of such compositions, and in order that there be no breach of Nature's order, and that the conception of growth be maintained, all things must be used, in the order of their seasonableness and appropriateness to the time of the year. The flowers used within the house must correspond with those now growing out of doors.

The masterly strength and grace of the lines that form the basis of the recognized standard of flower arrangements commands admiration of all artists. Balance and harmony, without repetition, and a studious avoidance of symmetry are the guiding rules of this exquisite and unique art, which conforming to Nature, affords an endless variety of designs.

The simplest form is the tri-lineal compositions which consists of three stems of different length arranged in bold curves, expressing the tallest stem "Heaven", next in length, "Earth", and shortest, "Man", as called in one of the schools, and any flower arrangement which did not embody these principles was considered barren and dead.

The precepts governing these arrangements, which aim to preserve artistic balance and harmony, are capable of infinite variation, opposition, form and length. The doctrine of appropriateness to the season, of distinction between trees and plants, between land and water plants, and between products of mountain and valley is rigidly observed. The components of the arrangement may be a single species, or perhaps two or three. If more than one species is used, variety is obtained by introducing trees and plants, with due regard to fixed aesthetic principles.

For example, sandwiching or interposition of a tree between two plants, the placing of a red blossom between two white ones, or the like, is strictly forbidden. In the springtime, the arrangement must be powerful and lively, indicative of the "upspringing of life" at that season. In summer, they should be full and spreading, suggesting the bounty of the harvest. In autumn comes the spare and sere, followed by the withered and dreary, telling of winter's hold upon the world.

A study of Ikebana, the art of flower arrangements as practiced in Japan today, opens up a realm of artistic conception, whose existence has been practically unknown in other lands. It is in itself one of the gentlest and most beautiful accomplishments the whole Far East has to offer, being founded on the principle of fidelity to Nature.

ESTABLISHED IN 1657

H. NISHIMURA

GOLD LACQUER FACTORY

Visitors are specially invited to inspect our
gold lacquer factory and to see the intricate and
delicate process of manufacturing one of Japan's
most characteristic products.

A part of the art studio

Our firm founded as early as 1657 by our ancestors, has been
carried on eight generations for more than two centuries and a half, and
the long experience together with the hereditary studies devoted to this very
fine art by successive generations have enabled us at last, to turn out perfect
pieces worth universal reputation, and the result has been a unique position
among our follow artisans.

Among so many brother craftsmen we have been the only
purveyors to supply all sorts of furniture and kitchen utensils to T. M.
the Emperors and Empresses of Japan and the other Imperial Families for
ages; and T. H. the Prince of Wales, Prince Aurther of Connaught, the
Crown Prince of Roumania, a younger brother of the Siam King, and other
foreign guests of honour who while in Kyoto, have not failed to visit our
factory, and personally graciously inspect our wonderful process.

This is our registered trade mark, and all articles marked with it, are
guaranteed to be first class workmanship.

# “GYOKI”

Grand Buddhist Service for the
Founder of the Jôdo Sect
held at
The Chion-in Temple, Maruyama Park.
April 19-25.

THE “Gyoki” is annually performed at the Chion-in Temple, Kyoto, for a week commencing on April 19th in honour of the saintly priest Hônen Shônin (1133-1212). His famous posthumous title “Enkô Daishi” was graciously conferred upon him by the Emperor Higashiyama on January 18th, 1697. He is now revered exceedingly high as the illustrious founder of the Jôdo (Pure Land) sect and as one of the greatest priests ever seen in this country. At nine, he entered into the priesthood and studied Buddhism very hard at several temples. In order to spread his doctrine, he had met with many a difficulty and was often persecuted inasmuch as to be once exiled to Tosa. Finally he succeeded in founding the Jôdo sect in March, 1175, when he was 43 years old. Be it stated that the ultimate object of the Jôdo sect is to be re-born in the Paradise of Amitâbha or Amitâyus (Amida Butsu in Japanese), reciting day and night the prayer-formula “Namu Amida Butsu” or “Glory to Buddha Amitâbha” as many times as one can.

The most beautiful attraction of the “Gyoki” is a procession taken part by some two hundred priests, who are

gorgeously dressed in the priestly robes of costly brocades almost dazzling to the eyes. They parade from the Priests' Quarters to the Hondô or Main Hall, presenting a wonderful sight rarely to be enjoyed. These priests are mostly the heads of over 7,000 temples subordinate to the Chion-in.

Originally the word “Gyoki” signified a Buddhist service held on the anniversary of an emperor’s or empress’s death. I later it came to mean the Buddhist service yearly performed at the Chion-in Temple to pay homage to Hônen Shônin. This service owes its origin to the command given to the 25th abbot of the Chion-in by the Emperor Gokashiwabara on January 18th, 1524. Thenceforth it had been held for 7 days beginning on January 19th; but, since the Restoration of Meiji, it has been changed to take place for a week starting from April 19th. In conclusion, it may be added that Hônen Shônin died on January 25th, 1212, so that his *Mei-Nichi* (death-day) falls on the 25th of the month.

The priests' procession take place at about 11 a.m., and the service immediately afterwards.

Kyoto Chamber of Commerce & Industry.
Japan Welcome Society. (Kinki Kanko Kyokai)

P. S. The bearer of this will find on each day until 10.30 a. m. reserved seats at the back of the main temple building.

Measurement of Image.

<table><tr><td>Body-Height</td><td>53 ft.</td><td>Curls, (966) in height</td><td>1ft.</td></tr><tr><td>Face-Length</td><td>16 ft.</td><td>" " diameter</td><td>7 1/5 in</td></tr><tr><td>Face-Breadth</td><td>9 1/2 ft.</td><td>Lotus petals of throne,</td><td>56 in number</td></tr><tr><td>Nose-Height</td><td>1 ft. 7 4/5 in</td><td>Lotus petals of throne - Height</td><td>10 ft.</td></tr><tr><td>Mouth-Breadth</td><td>3 ft, 8 2/6 in.</td><td>Lotus throne, in diameter</td><td>68 ft.</td></tr><tr><td>Ears-Length</td><td>8 1/2 ft.</td><td>Halo - Height</td><td>38 ft.</td></tr><tr><td>Thumb-Girth</td><td>4 ft. 9 5/5 in.</td><td>Images on Halo</td><td>8-9 ft.</td></tr></table>

Size of Temple.

Width 188 ft. 2 in.; Depth 166 ft. 7 in.; Height 160 ft. 7 in.

Pillars 60 in number; 45 1/2 ft. in diameter.

A Short History of Daibutsu

Daibutsu, the principal image, is called Vairochana Buddha, which symbolizes Buddha's blessings, omnipotent and omnipresent. He is sitting on an open lotus blossom in an attitude of calm reflection; the Largest image of its kind in Japan, perhaps one of the greatest in the world. It was erected in 749 A. D. at the instance of the (45th) Emperor Shomu and contains 437 tons of bronze, 288 pounds of gold, 7 tons of vegetable wax, 165 pounds of mercury, and several thousand tons of charcoal. The gold and mercury are used solely for gilding.

Two years were required to cast the image; the Emperor himself carried earth with his own hands to help make the foundation, and after seven unsuccessful attempts, the image was at last completed. The head and neck were cast in a single mould, but the body and the lotus stand were formed of separate plates soldered together and gilded all over; though most of the gilt has disappeared. On the lotus petals innumerable were engraved with their own Buddhas are engraved.

The temple, built the following year to shelter it, was burned down in the 12th century during a civil war, leaving Daibutsu so seriously broken in the ashes that the head had to be replaced the following year by Imperial order by a new one, which is much darker than the body. The reerection of the temple was commenced in 1190 and finished the next year.

In 1567, more than 370 years after the rebuilding, the temple was again destroyed by fire, and Daibutsu then stood without shelter for over a hundred years. The reconstruction of the temple was begun about 1699, and three years were taken for its completion.

This third structure is the present temple. It is reduced to 66 per cent of the old building, 160 ft. high with a frontage of 188 ft., and a depth of 166 ft., and holds the distinction of being the largest wooden structure, in the world.

From that time, about 200 years passed to the time of the Meiji era, and the temple came almost to a state of ruin. Repair work, therefore, was started in the 37th year of Meiji (1903) and completed in the 2nd year of Taisho (1913) without the slightest alteration of style.

The Todaiji Temple
NARA.

TOKYO CLUB

Tokyo, April 13th 1936

The Committee of the Tokyo Club have much pleasure in
extending to Archibard MacLeish Esq.
the privileges of their Club House for a period of ~~three months~~
10 days
from this date.

Honorary Secretary,

N. B.—An Abstract of the Rules and Bye-Laws of
the Club relating to Visitors printed overleaf.

Abstract of the General Rules and Bye-Laws
relating to Visitors.

1. Any gentleman not being a resident of Japan or who may temporarily visit Japan shall, upon being duly proposed and seconded, be admitted to the use of the Club House for a period not exceeding three months at a subscription of yen 12.50 per month always provided that if a visitor be put up for a period of ten days or less, he shall be free of subscription. Such visitors shall not be introduced under this Rule more than once in twelve months.

Any gentlman residing in Chosen, Taiwan or Karafuto shall upon being duly proposed and seconded, be admitted to the use of the Club House for a period not exceeding ten days and free of subscription. Such visitors shall not be introduced under this Rule more than twice in one year.

2. Bonafide visitors to Japan, after the expiration of three months, may, with the consent of the General Committee, have their privileges extended for 3 months more.

3. Visitors shall not be allowed to introduce other visitors or resident non-members.

4. The proposers and seconders of visitors shall be held liable jointly and severally, for the amounts of such visitors' subscriptions and Club bills.

5. The General Committee may in their discretion, at any time, withdraw the privileges accorded to a visitor.

6. Commanding and wardroom officers of Japanese and foreign men-of-war visiting Tokyo Bay shall be invited by the General Committee to use the privileges of the Club House during the ship's stay in port. Such officers shall pay no subscription.

7. Any visitor failing to pay his subscription or chits within one month after an account of the same has been duly rendered shall cease to be entitled to credit in the Club, and notice in writing to that effect shall be sent to him by the Honorary Treasurer.

If within a further period of twenty days, the account is not paid, the General Committee may order the defaulting visitor's name to be posted. And, if the visitor remains in default a further ten days, the General Committee may refuse to continue to him the privileges of the Club. The penalties provided in this Rule are to be applied at the discretion of the General

Committee after they have satisfied themselves that the default is inexcusable on any reasonable or accidental grounds.

8. Visitors are required, before leaving the Club, to sign chits for all expenses incurred with their full name and local address or make payment for them in cash. In the latter case, they are requested to enter the particulars and amount paid in the book kept for the purpose.

9. Visitors must give 24 hours notice of their intended departure in order that their accounts may be made up and presented for collection. Visitors paying their own accounts must do so during the manager's office hours.

10. Any visitor who shall use the Club after 1 a.m. shall pay a fine as follows: From 1 a.m. to 2 a.m. Two Yen (Y. 2.-). From 2 a.m. to 3 a.m. Five Yen (Y. 5.-). From 3 a.m. to 4 a.m. Teh Yen (Y. 10.-). From 4 a.m. to 6 a.m. Fifteen Yen (Y. 15.-) per visitor. In calculating such fines, fractions of hours in excess of fifteen minutes shall be counted as full hours.

11. No visitor shall give any money or gratuity to any of the servants of the Club. At New Year time collection boxes may be placed in the Club to receive contributions for the benefit of the servants of the Club.

12. No visitor shall carry on his profession or business in the Club, nor shall any visitor be allowed to make use of the name or facilities of the Club for the purpose of advertising privately or publicly.

13. No servant shall be reprimanded or in any way punished by the visitors. Any complaint against the servants should be made in writing to the Honorary Secretary who will report to the General Committee; proper measures will be taken thereon and the result communicated to the complainant.

14. Between the hours of 5 p.m. and 7 p.m., members take precedence of visitors in the use of Billiard Tables.

15. Any visitor breaking or injuring any articles, the property of the Club, shall pay the cost of such article or articles, or a fine to be assessed by the General Committee or the Sub-Committee.

16. The messengers, servants and attendants of visitors shall only be allowed in the hall or dressing rooms and in no other part of the Club.

17. Visitors have not the privilege of taking books away from the Library.

(From the General Rules)

VISITORS

37. Any lady or gentleman, residing outside the resident or non-resident areas, who shall temporarily visit such areas, shall, upon being duly proposed, be admitted to the use of the Club House for a period not exceeding three months at the usual rate of subscription for members or associate members in the areas visited, but if put up for a period of fourteen days or less no subscription shall be payable. Bona fide visitors to Japan, after the expiration of three months may, with the consent of the General Committee, have their privileges extended for a further period of three months. Members and or associate members introducing Visitors shall enter in the Visitors' Book any particulars requested by the Committee.

38. Visitors shall not be allowed to propose other visitors except as Guests.

39. The proposers of visitors shall be held liable for the amounts of such visitor's subscriptions and Club bills. Should a visitor overstay the period for which he or she has been put up, nevertheless his or her proposer shall continue to be liable for such visitor's subscriptions and Club bills unless he or she shall rescind in writing, to both the Honorary Secretary and such visitor, his or her responsibility as proposer.

40. The General Committee may in their discretion, at any time withdraw the privileges accorded to a visitor.

J STAR-BULLETIN, TH

BUSINESS BOOM
SEEN IN JAPAN

A big financial boom is in progress in Japan, Archibald MacLeish of New York, editor of Fortune magazine, reported this morning when he arrived as a through passenger on the Empress of Japan. A blue beret perched jauntily on his head, the youthful editor seemed more anxious to slip into his bathing suit and take a swim at Waikiki beach than to reveal the conclusions of his seven weeks' study of financial conditions in Japan.

No difficulty in obtaining information was encountered despite the recent political disturbances in Japan, Mr. MacLeish asserted. He and Wilder Hobson, editorial assistant who is accompanying him, spoke to industrial magnates, labor leaders, college professors, army officers and members of the foreign office staff.

"Our ideas are still in a fluid state," remarked the editor. "We'd rather wait until we get back to New York and can properly evaluate our material before drawing conclusions. Our study had political aspects, but primarily we were interested in the economic situation."

No financial crash is imminent in Nippon, he said. The country has been in financial difficulties for many years and is balancing the budget by borrowing money, but so is the United States. Banks are still lending money and the inflationary boom is going strong.

Whether Japan's military ventures into Manchuria and North China are proving a financial loss, is one of the fundamental questions which Mr. MacLeish has not decided. He hopes to be able to conclude whether Japan is going to lose more than the gains financially from her colonizing attempts on the continent of Asia.

Mr. MacLeish passed through Honolulu about two months ago on his way to Japan. He leaves tonight on the way to New York. Besides himself and his assistant, the party includes Mrs. MacLeish and Mrs. Hobson.

Below is a summary of all known Editor's editories in betwee

### Meter
49.50—1
19.66—1
19.72—1
16.87—1
25.40—1
16.89—1
16.87—1
31.36—1
25.33—1
49.42—1
49.20—6
25.49—11
19.57—15ua
25.53—11, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286, 287, 288, 289, 290, 291, 292, 293, 294, 295, 296, 297, 298, 299, 300, 301, 302, 303, 304, 305, 306, 307, 308, 309, 310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 320, 321, 322, 323, 324, 325, 326, 327, 328, 329, 330, 331, 332, 333, 334, 335, 336, 337, 338, 339, 340, 341, 342, 343, 344, 345, 346, 347, 348, 349, 350, 351, 352, 353, 354, 355, 356, 357, 358, 359, 360, 361, 362, 363, 364, 365, 366, 367, 368, 369, 370, 371, 372, 373, 374, 375, 376, 377, 378, 379, 380, 381, 382, 383, 384, 385, 386, 387, 388, 389, 390, 391, 392, 393, 394, 395, 396, 397, 398, 399, 400, 401, 402, 403, 404, 405, 406, 407, 408, 409, 410, 411, 412, 413, 414, 415, 416, 417, 418, 419, 420, 421, 422, 423, 424, 425, 426, 427, 428, 429, 430, 431, 432, 433, 434, 435, 436, 437, 438, 439, 440, 441, 442, 443, 444, 445, 446, 447, 448, 449, 450, 451, 452, 453, 454, 455, 456, 457, 458, 459, 460, 461, 462, 463, 464, 465, 466, 467, 468, 469, 470, 471, 472, 473, 474, 475, 476, 477, 478, 479, 480, 481, 482, 483, 484, 485, 486, 487, 488, 489, 490, 491, 492, 493, 494, 495, 496, 497, 498, 499, 500, 501, 502, 503, 504, 505, 506, 507, 508, 509, 510, 511, 512, 513, 514, 515, 516, 517, 518, 519, 520, 521, 522, 523, 524, 525, 526, 527, 528, 529, 530, 531, 532, 533, 534, 535, 536, 537, 538, 539, 540, 541, 542, 543, 544, 545, 546, 547, 548, 549, 550, 551, 552, 553, 554, 555, 556, 557, 558, 559, 560, 561, 562, 563, 564, 565, 566, 567, 568, 569, 570, 571, 572, 573, 574, 575, 576, 577, 578, 579, 580, 581, 582, 583, 584, 585, 586, 587, 588, 589, 590, 591, 592, 593, 594, 595, 596, 597, 598, 599, 600, 601, 602, 603, 604, 605, 606, 607, 608, 609, 610, 611, 612, 613, 614, 615, 616, 617, 618, 619, 620, 621, 622, 623, 624, 625, 626, 627, 628, 629, 630, 631, 632, 633, 634, 635, 636, 637, 638, 639, 640, 641, 642, 643, 644, 645, 646, 647, 648, 649, 650, 651, 652, 653, 654, 655, 656, 657, 658, 659, 660, 661, 662, 663, 664, 665, 666, 667, 668, 669, 670, 671, 672, 673, 674, 675, 676, 677, 678, 679, 680, 681, 682, 683, 684, 685, 686, 687, 688, 689, 690, 691, 692, 693, 694, 695, 696, 697, 698, 699, 700, 701, 702, 703, 704, 705, 706, 707, 708, 709, 710, 711, 712, 713, 714, 715, 716, 717, 718, 719, 720, 721, 722, 723, 724, 725, 726, 727, 728, 729, 730, 731, 732, 733, 734, 735, 736, 737, 738, 739, 740, 741, 742, 743, 744, 745, 746, 747, 748, 749, 750, 751, 752, 753, 754, 755, 756, 757, 758, 759, 760, 761, 762, 763, 764, 765, 766, 767, 768, 769, 770, 771, 772, 773, 774, 775, 776, 777, 778, 779, 780, 781, 782, 783, 784, 785, 786, 787, 788, 789, 790, 791, 792, 793, 794, 795, 796, 797, 798, 799, 800, 801, 802, 803, 804, 805, 806, 807, 808, 809, 810, 811, 812, 813, 814, 815, 816, 817, 818, 819, 820, 821, 822, 823, 824, 825, 826, 827, 828, 829, 830, 831, 832, 833, 834, 835, 836, 837, 838, 839, 840, 841, 842, 843, 844, 845, 846, 847, 848, 849, 850, 851, 852, 853, 854, 855, 856, 857, 858, 859, 860, 861, 862, 863, 864, 865, 866, 867, 868, 869, 870, 871, 872, 873, 874, 875, 876, 877, 878, 879, 880, 881, 882, 883, 884, 885, 886, 887, 888, 889, 890, 891, 892, 893, 894, 895, 896, 897, 898, 899, 900, 901, 902, 903, 904, 905, 906, 907, 908, 909, 910, 911, 912, 913, 914, 915, 916, 917, 918, 919, 920, 921, 922, 923, 924, 925, 926, 927, 928, 929, 930, 931, 932, 933, 934, 935, 936, 937, 938, 939, 940, 941, 942, 943, 944, 945, 946, 947, 948, 949, 950, 951, 952, 953, 954, 955, 956, 957, 958, 959, 960, 961, 962, 963, 964, 965, 966, 967, 968, 969, 970, 971, 972, 973, 974, 975, 976, 977, 978, 979, 980, 981, 982, 983, 984, 985, 986, 987, 988, 989, 990, 991, 992, 993, 994, 995, 996, 997, 998, 999, 1000

Mt. Kōyasan and Shōjōshinin Temple.

Visitors to Kōyasan, about 3,000 feet above sea level, will experience unparalelled scenic beauty on the way up and a delightful sojourn at the Shōjōshinin temple, ready to welcome them.

Shōjōshinin temple is the largest at Kōyasan and has a very beautiful garden similar to the Kinkakuji (gold) pavilion in Kyōto. Many foreigners visit Shōjōshinin every year. This temple possesses a number of old carvings namely.

1. The statue of Amida Buddha, carved by UnKei, who was a very famous carver of the Kamakura period about seven hundred years old.

2. The statue of HatsuKadaishi, carved by Kōbō-daishi himself.

3. An old big tiger, carved by Hidarijingorō, who carved the sleeping Cat of NIKKŌ Shrine and other treasures of note.

There are also many famous "Fusuma"(screens) and "Kakemono" (panels) painted by the "Kano" and "Sesshu" schools. There were the best known schools of ancient Japan. Lord Uesugi Kenshin, a man of great fame, was a generous contributor to this temple and established several shrine in its compounds. Visitors are invited to come to the temple for a stay of one or two nights.

They will be told very interesting stories about the Shingon Sect, the ancient Koyasan and Takiguchi-Nyūdō and Yokobue, taken from the Heikemonogatari book. They will also be guided

to the most famous sights such as the Okunoin cemetery, the Garan, founded by Kōbōdaishi on his first visit to Kōyasan, and others, including impressive scenes of oil burning paper lanterns lighting the temple by night. A simple explanatory map showing the way to and the location of Shōjōshinin temple will be found at the back of this pamphlet.

C. Yabumoto

Notes

Kōbōdaishi. Kōbōdaishi was the founder of the Shingon Sect. He was born on the 15th of June, 774 A.D. at Byōbuga-ura in Sanuki province, Shikoku Island.
AKafudō (Red-Fudō). A Coloured silk Kakemono (H.5 ft. 4 in. w. 3 ft. 2in) in the Myōōin temple.

East of Kōyasan

A. The tomb of Kōbōdaishi.

B. The Nestorian Tablet. (on the way to Okunoin)
Center

A. HenjōKōin temple famous for its Taigadō Screen.

B. Kongōsanmai-in temple famous for its Tahōto-pagoda.

C. Karukayadō temple.

D. Kongobuji temple. Kongobuji is the headquauter of the Shingon Sect and is also the official residence of the Abbot.
West of Kōyasan

A. Kondō. Kondō or golden Hall was originally constructed by Kōbōdaishi.

B. Daitō. Kōbōdaishi built the Daitō pagoda shortly after erection of Kondō.

C. The national treasure house. (Museum)

D. The Daimon (main gate to Kōyasan) used by pilgrims in olden days to enter Kōyasan on reaching it by foot.

2. Building area, 750 tsubo. Height, 106 shaku from the base to the top of the tower.

3. 40 pictures in Japanese style and as many in European, illustrating the principal events in the lives of the Emperor Meiji and the late Empress Dowager Shoken, are exhibited in the Gallery.

4. The design for this building was the result of a prize contest.

B. The Site of the Funeral Service Hall.

A terrace has been erected and a camphor-tree planted on the site of the hall where the funeral of the late Emperor was held.

C. The Hall in Commemoration of Establishment of the Constitution.

This building was originally a dining hall in the Akasaka Detached Palace which was used as the chamber of council for the establishment of the Constitution. Later, the Emperor Meiji was pleased to give it to the late Prince Ito who was the chairman of the council and, since the construction of the Shrine, it has been donated by the Ito family and transferred to the grounds.

D. Stadium.

1. Total area, approximately 10,000 tsubo. Total length of tracks, 400 metres. Area of field, about 3,000 tsubo.

- 2 -

2. Grand stand. This is of reinforced concrete and covers an area of 1,237 tsubo.

3. Ground seats cover 2,770 tsubo.

4. Total seats for spectators.

Grand stand................... About 15,000.

Ground seats................... " 40,000.

Total......................... About 55,000.

E. Base-ball ground.

Situated in the south-western corner of the grounds. Occupies 8,936 tsubo. Its structure is of reinforced concrete and covers an area of 3,295 tsubo.

1. Area of field.................. 4,111 tsubo.

2. Area of lawn................... 2,745 tsubo.

3. Total seats for spectators.

Grand stand................... About 20,000.

Ground seats................... " 36,000.

Total......................... About 56,000.

F. Wrestling ring and Basket ball ground.

- 3 -

1. Wrestling ring occupies 1,810 tsubo.

2. Total seats for spectators...... about 20,000.

Basket ball ground is to be fitted up with required provisions over part of the Wrestling stadium in case of necessity.

1. Area of Basket ball ground...... 170 tsubo.

G. Swimming pools.

Situated in the north-western corner of the grounds. Occupies 2,025 tsubo. Its structure is of reinforced concrete which covers an area of 439 tsubo.

1. Area of concrete seats............ 561 tsubo.

2. Total seats for spectators............ About 12,200.

3. Swimming pool............ { length 50 metres
                             width 25 ,,
                             depth 2 ,,

4. Diving pool............ { length 25 metres
                             width 18 ,,
                             depth 5 ,,

- 4 -

H. Roads.

Main roads in the grounds, covering an area of about 20,000 tsubo, are from 8 to 18 ken wide (1 ken is about 7 feet) and paved with asphalt concrete. The cost is estimated at ¥618,000. By-roads and paths are laid with gravel suitable for pedestrian traffic.

I. Other Equipment.

Three resting houses are in the grounds. A playground for children, covering some 1,000 tsubo, also has been laid out near the entrance at Aoyama. The area left unoccupied has been made into dense woods and lawns to preserve the beauty of the grounds.

J. Principle Pursued in the Execution of the Work.

The work has been chiefly executed under job work contracts, the materials required being supplied by the authorities. The materials are almost entirely domestic products. For instance, except certain glass panes and a part of the metal work, those used for the construction of the Picture Gallery are all Japanese products.

- 5 -