es of a species of opera
affected by them, always treating patriotic legends and called _n[=o]_.
The mikado has a court theatre.

Subjects of the plays.

The subjects of the serious popular plays are mainly mythological--the
acts of the great spirit Day-Sin, the incarnation of Brahma, and similar
themes--or historical, treating of the doings of the early dynasties. In
these the names of the personages are changed. An example of the latter
class is to be found in the _j[=o]ruri_, or musical romance, in which
the universally popular tale of _Chiushingura_ (_The Loyal League_) has
been amplified and adapted for theatrical representation. This famous
narrative of the feudal fidelity of the forty-seven _ronins_, who about
the year 1699 revenged their chief's judicial suicide upon the arrogant
official to whom it was due, is stirring rather than touching in its
incidents, and contains much bloodshed, together with a tea-house scene
which suffices as a specimen of the Japanese comedy of manners. One of
the books of this dramatic romance consists of a metrical description,
mainly in dialogue, of a journey which (after the fashion of Indian
plays) has to be carried out on the stage. The performance of one of
these quasi-historical dramas sometimes lasts over several days; they
are produced with much pomp of costume; but the acting is very
realistic, and _hari-kari_ is performed, almost "to the life." Besides
these tragic plays (in which, however, comic _intermezzos_ are often
inserted) the Japanese have middle-class domestic dramas of a very
realistic kind. The language of these, unlike that of Chinese comedy, is
often gross and scurrilous, but intrigues against married women are
rigidly excluded. Fairy and demon operas and ballets, and farces and
_intermezzos_, form an easy transition to the interludes of tumblers and
jugglers. As a specimen of nearly every class of play is required to
make up a Japanese theatrical entertainment, which lasts from sunrise to
sunset, and as the lower houses appropriate and mutilate the plays of
the higher, it is clear that the status of the Japanese theatre cannot
be regarded as at all high. In respect, however, of its movable scenery
and properties, it is in advance of its Chinese prototype. The
performers are, except in the ballet, males only; and the comic acting
is said to be excellent of its kind. Though the leading actors enjoy
great popularity and very respectable salaries, the class