The Japanese are essentially a laughter-loving people. They are highly susceptible of tragic emotions, but they turn gladly to the brighter phases of life. Hence a need was soon felt of something to dispel the pessimism of the No, and that something took the form of comedies played in the interludes of the No and called _Kyogen_ (mad words). The Kyogen needs no elaborate description: it is a pure farce, never immodest or vulgar. The Theatre. The classic drama No and its companion the Kyogen had two children, the _Joruri_ and the _Kabuki_. They were born at the close of the 16th century and they owed their origin to the growing influence of the commercial class, who asserted a right to be amused but were excluded from enjoyment of the aristocratic No and the Kyogen. The Joruri is a dramatic ballad, sung or recited to the accompaniment of the _samisen_ and in unison with the movements of puppets. It came into existence in Kioto and was thence transferred to Yedo (Tokyo), where the greatest of Japanese playwrights, Chikamatsu Monzaemon (1653-1724), and a musician of exceptional talent, Takemoto Gidayu, collaborated to render this puppet drama a highly popular entertainment. It flourished for nearly 200 years in Yedo, and is still occasionally performed in Osaka. Like the No the Joruri dealt always with sombre themes, and was supplemented by the Kabuki (farce). This last owed its inception to a priestess who, having abandoned her holy vocation at the call of love, espoused dancing as a means of livelihood and trained a number of girls for the purpose. The law presently interdicted these female comedians (_onna-kabuki_) in the interests of public morality, and they were succeeded by "boy comedians" (_wakashu-kabuki_) who simulated women's ways and were vetoed in their turn, giving place to _yaro-kabuki_ (comedians with queues). Gradually the Kabuki developed the features of a genuine theatre; the actor and the playwright were discriminated, and, the performances taking the form of domestic drama (_Wagoto_ and _Sewamono_) or historical drama (_Aragoto_ or _Jidaimono_), actors of perpetual fame sprang up, as Sakata Tojuro and Ichikawa Danjinro (1660-1704). Mimetic posture-dances (_Shosagoto_) were always introduced as interludes; past and present indiscriminately contributed to the playwright's subjects; realism was carried to extremes; a revolving stage and all mechanical accessories were supplied; female parts were invariably taken by males, who attained almost incredible skill in these simulations; a chorus--relic of the No--chanted expositions of profound sentiments or thrilling incidents; and histrionic talent of the very highest order was often displayed. But the _Kabuki-za_ and its _yakusha_ (actors) remained always a plebeian institution. No _samurai_ frequented the former or associated with the latter. With the introduction of Western