The tragedy we have already partly described as of a mythological sensational type. In the comedy it is often customary for the audience to address the actors, and the latter answer in kind; thus frequently a brisk fire of _repartee_ is kept up which delights the audience far more than the play itself. It is very rare in any of these pieces that more than two actors are upon the stage together. In the ballet the performers are richly attired, and sometimes wear several dresses of light silk, one above the other; as they dance they detach a few of these vestments and allow them to hang from their waist, a cloud of airy texture seemingly voluminous, but in reality very light.[182] The Japanese plays are sometimes preceded by a prologue in which much of the action is described (_a la_ Greek chorus) but not the _denouement_.[183] The performance of the jugglers is most to the popular taste, for it is not unusual to find the restaurants (with which each theatre is surrounded, and which cater to the same class of custom) quite crowded during the entire performances, but the moment that the gong gives the signal for the commencement of the juggling, they are at once deserted, every one hastening back to his seat in the theatre. The principal parts of the performance are announced not with a bell or with music, but by striking a small wooden stick upon the stage. Sometimes the actors pass through the audience on their way to the stage, in order to give the spectators an opportunity to admire their appearance and costume, as closely as possible.[184] The appearance of infernal personages on the stage is always accompanied with lightning. The principal characters of the drama are accompanied on the stage by a couple of attendants, each carrying a long stick at the end of which is a lighted candle. The use of these candles is amusing; they show to the audience what they ought to admire. If the actor’s facial expression be peculiar, his attitude graceful, his dress fine, or his weapons elegant, the candle is at once held to the part, to attract attention. With regard to the literary merit of the Japanese drama, not enough is yet known whereon to base a detailed analysis, but it is safe to say that the art is yet in its infancy. It is singular, that, while we regard some of the situations in their plays as exceedingly indelicate, they, on their part, condemn our drama as totally immoral, and would not tolerate such plays as “Hamlet,” “School for Scandal,” etc. The key to the enigma is this,—they allow every license to unmarried ladies, but the married state is with them inviolable. They therefore tranquilly witness plays which would put “Camille” to the blush, but allow nothing which involves post-marital intrigue. Some of their actors are quite skillful; there is one at present upon the Yeddo stage, who performs the part of a man possessed with the soul of a cat, and the blending of human and feline character is said to be marvelous.