red by the want of scenery and
by the grotesque dresses and make-up. In the _Suit of Feathers_, for
instance, the fairy wears a hideous mask and a wig of scarlet elf
locks: the suit of feathers itself is left entirely to the
imagination; and the heavenly dance is a series of whirls, stamps, and
jumps, accompanied by unearthly yells and shrieks; while the vanishing
into thin air is represented by pirouettes something like the motion
of a dancing dervish. The intoning of the recitative is unnatural and
unintelligible, so much so that not even a highly educated Japanese
could understand what is going on unless he were previously acquainted
with the piece. This, however, is supposing that which is not, for the
No are as familiarly known as the masterpieces of our own dramatists.

The classical severity of the No is relieved by the introduction
between the pieces of light farces called Kiyogen. The whole
entertainment having a religious intention, the Kiyogen stand to the
No in the same relation as the small shrines to the main temple; they,
too, are played for the propitiation of the gods, and for the
softening of men's hearts. The farces are acted without wigs or masks;
the dialogue is in the common spoken language, and there being no
musical accompaniment it is quite easy to follow. The plots of the two
farces which were played before the Duke of Edinburgh are as
follows:--

In the _Ink Smearing_ the hero is a man from a distant part of the
country, who, having a petition to prefer, comes to the capital, where
he is detained for a long while. His suit being at last successful, he
communicates the joyful news to his servant, Tarokaja (the
conventional name of the Leporello of these farces). The two
congratulate one another. To while away his idle hours during his
sojourn at the capital the master has entered into a flirtation with a
certain young lady: master and servant now hold a consultation as to
whether the former should not go and take leave of her. Tarokaja is of
opinion that as she is of a very jealous nature, his master ought to
go. Accordingly the two set out to visit her, the servant leading the
way. Arrived at her house, the gentleman goes straight in without the
knowledge of the lady, who, coming out and meeting Tarokaja, asks
after his master. He replies that his master is inside the house. She
refuses to believe him, and complains that, for some time past, his
visits have been few and far between. Why shou