In tea houses of an inferior rank, when female dancers and musicians are not among the assistants, they may be sent for, and engaged by the hour. These women never enter the lower class of tea-houses, unless thus sent for. In this respect, as well as by the correctness of their behavior, they are to be distinguished from the lower order of street musicians and dancers at fairs. These are not allowed to perform in private houses; the law compels them to confine their music to such places as are subject to police regulations. Theatres being included in this category, they often appear there, at the request of performers in the plays, in order to figure in the ballet.[168] In Yeddo, many of the tea houses are built along the banks of the river; and in this case, they have large family boats or gondolas attached, which they let out by the hour, to such parties (and there are many) as desire to take their recreation upon the water. Guitar players and refreshments are furnished with these boats. The lower classes are passionately fond of listening to story tellers and singers, and these, as in other Eastern countries, give open air performances, trusting to their ability to delight their audience, for a voluntary recompense. Every day at the close of working hours, one may see groups of artizans, and laborers, as well as many women of the working classes, either at the door of the workshop or at a street corner, arranged in a semi-circle around the story-teller. National legends and romances are usually given only by those women who have made a profession of music and singing. This branch of street singers forms a large class; they are less roving than the others, and sometimes of rather a high order of talent, as compared with their more itinerant associates. The most distinguished of them have three or four musicians as accompanists, and do not themselves play upon any instrument. The effect of these combinations is said sometimes to be very charming, when heard and seen on a summer’s evening, in a light bamboo frame work, hung round with vines, and lighted with paper lanterns. Humbert has given the subject of some of these legendary songs, and they are found to be of a most sensational description. A few examples will suffice to prove this. “Asahina-Sabro charges a troop of enemies, and passes through them, lifting with his right hand, a soldier wearing a casque and cuirass, and spinning him round in the air, while with the left hand he kills two equally redoubtable warriors with one blow of his mace.”[169] “Nitan-nosiro, the dauntless hunter, astride on the back of a gigantic wild boar, which has flung down, and trodden under its hoofs, all the companions of the hero, holds the furious monster between his knees, and plunges his cutlass into its shoulder.”