in Japan than in
England or America. The reason lies very largely in the fact that these
women are seldom free agents. Many of them are virtually slaves, sold in
childhood to the keepers of the houses in which they work, and trained,
amid the surroundings of the _j[=o]r[=o]ya_, for the life which is the
only life they have ever known. A few may have sacrificed themselves
freely but reluctantly for those whom they love, and by their revolting
slavery may be earning the means to keep their dear ones from starvation
or disgrace. Many are the Japanese romances that are woven about the
virtuous j[=o]r[=o], who is eventually rewarded by finding, even in the
_j[=o]r[=o]ya_, a lover who is willing to raise her again to a life of
respectability, and make her a happy wife and the mother of children.
Such stories must necessarily lower the standard of morals in regard to
chastity, but in a country in which innocent romance has little room for
development, the imagination must find its materials where it can.
These _j[=o]r[=o]ya_ give employment to thousands of women throughout
the country, but in few cases do the women seek that employment, and
more openings in respectable directions, together with a change in
public opinion securing to every woman the right to her own person,
would tend to diminish the number of victims that these institutions
yearly draw into their devouring current.

Innocent and reputable amusements are many and varied in the cities. We
have already mentioned incidentally the theatre as one of the favorite
diversions of the people; and though it has never been regarded as a
very refined amusement, it has done and is doing much for the education
of the lower classes in the history and spirit of former times. Regular
plays were never performed in the presence of the Emperor and his court,
or the Sh[=o]gun and his nobles, but the _No_ dance was the only
dramatic amusement of the nobility. This _No_ is an ancient Japanese
theatrical performance, more, perhaps, like the Greek drama than
anything in our modern life. All the movements of the actors are
measured and conventionalized, speech is a poetical recitative, the
costumes are stiff and antique, masks are much used, and a chorus seated
upon the stage chants audible comments upon the various situations. This
alone, the most ancient and classical of Japanese theatrical
performances, is considered worthy of the attention of the Emperor and
the nobility, and takes t