Those privileged to attend the “world-decision” were the leading playwright, chief actors, the proprietor and manager. After the time of the second Ichikawa Danjuro, second-class playwrights were allowed to be present and two or three onnagata. Originally it was a most dignified meeting, but the good old customs degenerated and it became less significant. On the day of the announcement of a new play, towards sunset, long, narrow, gaily-coloured lanterns were hung above the entrance to the theatre, and the innumerable tea-houses also displayed their lanterns in honour of the occasion. The theatre streets were ablaze with paper spheres, and the whole district felt the importance of the ceremony. Those especially invited attended clad in their best, a silk skirt or hakama, and a black silk overcoat, or haori, on the sleeves of which was to be seen the family crest, in white, of the wearer. Behind the stage in a room reserved for the purpose was the place of meeting. A series of folding screens were arranged about the chief participants, outside of which were grouped the various theatre folk and attendants. The number of persons within the screened space was limited, as the details of the new play were to be kept secret, and news concerning it was not allowed to leak out too quickly to rival theatres. There is one instance on record when the privilege of being invited to the ceremonial of the play announcement was granted to an outsider. It was when Danjuro, the seventh, was actor-manager of the Kawarasaki-za in Yedo, and Sawamura Toshi, who was very popular, was taken to the meeting, but there was much discussion and a great fuss made over this innovation. [Illustration: Kataoka Nizaemon, the eleventh, as Yuranosuke, the leader of the Forty-seven Ronin, in the play Chushingura.] When the dignitaries of the theatre had taken their places the stage manager would formally address the leading playwright as follows: “I hope that you will give us your support this year as before. It would be a very auspicious thing if we could learn what choice you have made of a play.” Then the chief sakusha stood up, holding a folded paper in his hand, and read forth the name of the play and its characters, also the names of four or five of the leading actors who were to take the chief rôles. At this juncture there might be some disagreement between the stage manager and the sakusha, and if so the point was decided by lottery, but afterwards when all details of the play were decided beforehand this part of the ceremony became a mere formality. The sakusha holding the paper, symbol of the play, tied with red and white cords, handed it first to the stage manager and afterwards to the actors, and when this was over all present clapped their hands with regular beats, as is the custom at gatherings in Japan, as a sign of congratulation. Then the much-handled paper was given to the chief actor, and the stage manager said to him: