The yakusha travelled up and down the country from Yedo to Osaka and Kyoto, held their anniversaries and ceremonies, and were careful of the type, training their sons in the way they should go. In spite of this, misfortune often overtook a prosperous family, and the line withered away. It was renewed by some young relative, only to disappear in after years. No family flourished generation after generation as did the Ichikawa Danjuro line, and yet there is no representative of this name upon the Tokyo stage to-day. Nakamura Nakazo is on record as having expressed the opinion that actors should not be seen in public, but should be known only on the stage, and secure fame by their art alone. He thought it was a mistake for play-folk to attend picnics, moon-gazing or snow-viewing parties, or mix with the crowd. The second Ichikawa Danjuro was also a believer in the actor’s anonymity and seclusion from the public, and considered that if an actor was not good-looking he would not appear to advantage on the street. It is true that if the yakusha went out wearing fine apparel and attracted people by his dignified bearing, the defects of his character or lack of talent would be hidden. As the face of the yakusha was certain to be less attractive off the stage than on, he should take care not to be seen by the people. Danjuro further declared that as an actor’s life was full of anxiety, it was necessary that he should enjoy all the comforts of home, and receive every care to maintain his health. It was best for the yakusha to stay at home, so that he would have no occasion to become angry, and as he was the object of public attention he should aim to be as refined and beautiful as possible. When young, Danjuro the second thought, the yakusha should wear his head covered, and in middle age that he should ride in a kago, the basket conveyance hung on two poles and carried on the shoulders of bearers. And this must not be regarded as extravagance, but to make a good impression upon theatre-goers and therefore a duty to the theatre proprietor, for he considered it of the greatest importance for a yakusha to be magnificent in order to fill an eminent position. Contrary to Danjuro’s opinion, Sawamura Sojuro, the first, believed in the simple life for an actor. He said a chief actor should mingle with the people in the streets, and aim to be unpretentious, for a yakusha would thereby be able to learn of his defects upon the stage. As for clothing, it was quite sufficient to have one kimono for each season. It was, however, natural to wish to dress well, but it often proved ruinous. It was best for the yakusha to leave his name to posterity as a stage celebrity rather than as a millionaire, to be remembered for his art rather than for his money.