Besides the duty of suicide for the sake of preserving honour, there was also, for the samurai woman, the duty of suicide as a moral protest. I have already said that among the highest class of retainers it was thought a moral duty to perform harakiri as a remonstrance against shameless conduct on the part of one's lord, when all other means of persuasion [290] had been tried in vain. Among samurai women--taught to consider their husbands as their lords, in the feudal meaning of the term--it was held a moral obligation to perform jigai, by way of protest, against disgraceful behaviour upon the part of a husband who would not listen to advice or reproof. The ideal of wifely duty which impelled such sacrifice still survives; and more than one recent example might be cited of a generous life thus laid down in rebuke of some moral wrong. Perhaps the most touching instance occurred in 1892, at the time of the district elections in Nagano prefecture. A rich voter named Ishijima, after having publicly pledged himself to aid in the election of a certain candidate, transferred his support to the rival candidate. On learning of this breach of promise, the wife of Ishijima, robed herself in white, and performed jigai after the old samurai manner. The grave of this brave woman is still decorated with flowers by the people of the district; and incense is burned before her tomb. To kill oneself at command--a duty which no loyal samurai would have dreamed of calling in question--appears to us much less difficult than another duty, also fully accepted: the sacrifice of children, wife, and household for the sake of the lord. Much of Japanese popular tragedy is devoted to incidents of such sacrifice made by retainers or [291] dependents of daimyo,--men or women who gave their children to death in order to save the children of their masters.* [*See, for a good example, the translation of the drama Terakoya, published, with admirable illustrations, by T. Hasegawa (Tokyo).] Nor have we any reason to suppose that the facts have been exaggerated in these dramatic compositions, most of which are based upon feudal history. The incidents, of course, have been rearranged and expanded to meet theatrical requirements; but the general pictures thus given of the ancient society are probably even less grim than the vanished reality. The people still love these tragedies; and the foreign critic of their dramatic literature is wont to point out only the blood-spots, and to comment upon them as evidence of a public taste for gory spectacles,--as proof of some innate ferocity in the race. Rather, I think, is this love of the old tragedy proof of what foreign critics try always to ignore as--much as possible,--the deeply religious character of the people. These plays continue to give delight,--not because of their horror, but because of their moral teaching,--because of their exposition of the duty of sacrifice and courage, the religion of loyalty. They represent the martyrdoms