blazed around the sword;
many phosphorescent lights--in wreaths, double, triple. To the end of
the worlds his retribution.

Thus the causes, origins, are made known of what remains as the Yotsuya
Kwaidan.

END OF THE GIDAYU

[It can be noted that Japanese thought and expression are not very
different from that of the West. An idea perhaps can be obtained from
this _gidayu_ as to why the native waxes enthusiastic over the pose and
vivid gestures of the _geisha_, who is the one to interpret these
dramatic recitations. To her falls the "_kotoba_." The descriptive lines
are recited by a chorus to the harsh and effective twang of the
_samisen_. The _samisen_ may not afford music, but it can give
expression to the emotional in feeling. The _gidayu_ recitation is a
favourite art with the Go Inkyo[u] Sama. Symposia are held, before which
the old gentleman recites, often enough without chorus; for he, and the
_geisha_, at times have to fill the role both of "_kotoba_" and chorus,
modulating the voice according to the theme. Symposia is not an
unbefitting term. Meetings are held for public competition in _gidayu_
recitation; but in the privacy of one's circle and hobby the banquet is
an important feature--at least to the guests. In his history of
"Japanese Literature" (Dai Nihon Bungaku Shi, pp. 591-596) Suzuki
Cho[u]ko[u] gives a long extract from the play, as sample of Tsuruya's
powers as a dramatist. Adopted into the House of the actor Tsuruya
Namboku, and marrying his daughter, Katsu Byo[u]zo[u] in turn assumed
the name Tsuruya Namboku.]

B

[In the original the story by Momogawa Jakuen is found in the Kwaidan
Hyaku Monogatari, vol. ii, p. 83 (Kokkwado[u]-To[u]kyo[u]). This
collection has already been referred to, as sketching a number of the
best known Japanese _kwaidan_. The present example furnishes a specimen
of _ko[u]dan_ style, and has application to the present subject. It also
instances how the Japanese stage boldly faces situations, the exigencies
of which call for the greatest adaptation and facility on the part of
actor and stage manager. The "Yotsuya Kwaidan" in the stage
representation presents a number of critical scenes in which both
qualities are severely strained. Rapid metamorphosis is a _sine qua
non_. And it is effected--somehow.]

The _ko[u]dan_:

ONOE KIKUGORO[U] NO YU[U]REI

From former times and generations the Otowa[43] House held a monopoly
in the representation of ghosts. Its repres