oaxing me and going off--where? Going off where?

[_Pursuing her husband round the stage._

HUSBAND.--Not at all, not at all! I never said anything of the kind.
Do, do forgive me! do forgive me!

WIFE.--Oh! how furious I am! Oh! how furious I am! Where have you
been, sir? where have you been?

HUSBAND.--Well, then! why should I conceal it from you? I have been to
pray both for your welfare and for my own at the Temple of the Five
Hundred Disciples[178] in Tsukushi.

WIFE.--Oh! how furious I am! Oh! how furious I am! as if you could
have got as far as the Five Hundred Disciples!

HUSBAND.--Do, do forgive me! Do forgive me!

WIFE.--Oh! how furious I am! Oh! how furious I am!

[_The husband runs away._

Where's the unprincipled wretch off to? Is there nobody there? Please
catch him! I won't let him escape! I won't let him escape!

FOOTNOTES:

[Footnote 162: The reader will call to mind the extreme simplicity
which distinguishes the method of representing the Japanese lyric
dramas. In accordance with this simplicity, all the changes of place
mentioned in the text are indicated merely by a slight movement to and
fro of the actors upon the stage.]

[Footnote 163: It is said that in antiquity an ode commencing with the
name of Mount Asaka was the first copybook put into the hands of
children. The term is therefore now used as the "Pillow-word" for
learning to write.]

[Footnote 164: The doctrine of retribution set forth in the above
lines is a cardinal point of the Buddhist teaching; and, as the
afflicted Christian seeks support in the expectation of future rewards
for goodness, so will the pious Buddhist find motives for resignation
in the consideration of his present sufferings as the consequence of
sins committed in past stages of existence.]

[Footnote 165: A little further on, Kauzhiyu says it is a "rule" that
a retainer must lay down his life for his lord. Though it would be
difficult to find either in the Buddhist or in the Confucian teaching
any explicit statement of such a duty, it is nevertheless true that
the almost frantic loyalty of the mediaeval and modern Japanese was but
the natural result of such teaching domiciled amid a feudal society.
We may see in this drama the whole distance that had been traversed by
the Japanese mind since the time of the "Manyefushifu" poets, whose
means of life and duty were so much nearer to those of the simply
joyous and unmoral, though not immoral, childr