It is, however, a very common mistake of most Europeans to think we have no actresses. We have actresses as well as actors, only they form different and separate companies, and it is only seldom and of recent date that they act together. Danjiuro was the greatest actor we have had in recent centuries. Kikugoro and then Sadanji came next They were regarded as "the trio," but all three have died within the last few years. We do not think we shall have the same talent again for many years to come. A Garrick, a Henry Irving, or a Sarah Bernhardt is not a production of every generation. Danjiuro in particular was accounted, even by Occidental visitors, among the few of the greatest actors of the world. Curiously enough there was much resemblance between the personal character and style of acting of Danjiuro and Sir Henry Irving. The _forte_ of Danjiuro was historical representations, and so it was with Irving. Danjiuro acted more in spirit, that is to say, with as little action and rhetoric as possible, but with more suppressed but visible emotion. When he began this style of acting in his younger days, he was not popular at first: people thought he lacked theatrical display, but he soon succeeded in manifesting his great ability. Not only did he work out his own way, but he elevated the public taste. He also much improved the social and moral tone of his profession by the force of his character. In all these respects, I think there was much resemblance between him and Sir Henry Irving. The old stage, however, is hampered by much conventionality which is not entirely suited to modern taste. This has brought forward the new school. Oto Kawakami, the husband of Sada-Yakko, was the pioneer of that school. Sada-Yakko, who is known very well to the Occidentals, and is highly appreciated by them, is no more than a gifted amateur, who joined her husband's company through his influence. In Japan it is called the "student plays," because actors belonging to that school are mostly students. In the early days of that school, plays acted by its actors were little else than mere charades, of the most comical nature, even when the meaning was grave. As time went on, they have become more and more skilful, so that eventually something has been produced worth seeing, more especially because they are not hampered by any old conventionality or tradition. They can produce on the stage any incident which they deem worth showing, and they can introduce any innovation which the old school would not dare to do. Besides, these actors being students themselves, they have one advantage of having more educational intelligence than the greater number of the actors belonging to the old school. There is, therefore, much hope for the future in the