Kataoka Nizaemon, the first, of Osaka, declared that actors should be conversant with poetry and literature, and know all subjects relating to Buddhism and Shintoism, information that would be of use to them on the stage. When Ichikawa Danjuro, the second, built a fine new residence after his dwelling had been burned down, he gave a house-warming party, and a hundred short poems were written by the guests who attended. In the tokonoma, or recess of the reception-room, was hung an autographed poem by Kikaku, a well-known versifier. On the sliding doors were pictures by artists of the Tosa School. The small metal pieces inserted into the doors were of the best workmanship. There was a painting of chrysanthemums done especially for Danjuro by the master of flowers, Korin, and a flower vase after a design by Basho. He counted among his friends many of the intellectuals of his day, and upon one occasion he was seen out for a walk between Hanabusa Icho, the painter, and Kikaku, the poet, the two outstanding geniuses of the age. His name was known at the Shogun’s Court, for there is a mention in the diary of a daimyo, Matsura Sezan, that one day the Shogun, Tokugawa Yoshimune, passed through the ward of Honjo, and the route took him near a shrine where he noticed a votive offering on which was written a poem, signed Hakuin, Danjuro’s poetry name. Appreciating the literary talent the poem revealed, the Shogun turned to his retinue and asked who had composed it, but as none of them knew, he explained that it was the nom de plume of Ichikawa Danjuro. [Illustration: Matsumoto Koshiro in the rôle of an otokodate, or chivalrous commoner, ready to defend the oppressed lower classes from the blustering two-sworded samurai.] Nakamura Nakazo has left mention in his journal concerning a visit he made to a member of the Choshu clan, to the effect that he had been invited by a retired personage to his residence, made of hinoki wood, meaning a mansion such as was erected for the aristocracy, and that he was entertained with tea and asked to dance. The appreciative host not only gave each one of the party a gift, but after his return to his domain in Choshu he sent Nakazo a suzuri, or box for holding the Japanese writing brush and ink stone. Retired persons of the upper class were considered privileged to enjoy life as they pleased, and they often went to the theatre incognito. After the performance they invited the actors to the chaya, and gave them gifts. Actor worship permeated the people; the playgoers of the three towns enjoyed them, criticised, gossiped about them, even as they do at the present day. The theatre was the great recreation of the people, and the actors, how they looked, how apparelled, and the quality of their acting formed the endless topic of conversations and discussions.