In his postures on the hanamichi with his black and white umbrella, Sukeroku every second assumes a new pose, that causes him to appear like a piece of statuary in a bewildering number of aspects, as he shadows forth the meaning of the character he represents,—the bravery and fighting spirit of an otokodate, or man of the people, always ready to defend the weak. He also suggests that Sukeroku is in reality Goro, one of the Soga brothers, and that he is disguised as Sukeroku, and is searching for a lost sword. [Illustration: Morita Kanya, the thirteenth, son of the aggressive theatre manager of Meiji, as Yoshitsune, the young hero of the music-drama Kanjincho.] Thus the actors who created the character in the time of the fifth Danjuro knew what they were about, for the Soga brothers, otokodate, chivalrous commoners and searchers after swords, were prime favourites with Yedo audiences, and they were combined for greater effect in the character of Sukeroku. Seeking for a quarrel in the pleasure quarters, brave Sukeroku is no respecter of persons, for his only aim is to make men draw their swords that he may find the one of his quest. His taunting of the stately old villain in the attempt to arouse his ire, and the intimidation of a samurai whom he causes to throw down his swords and then crawl on all fours between his outstretched legs, are full of humour. As a last attempt to make the venerable miscreant show his sword Sukeroku, championed by Agimaki, the gorgeous belle of the quarter, suddenly jumps forth from his hiding-place behind Agimaki’s ample robes, and assaults the brocade-clad dignitary, who involuntarily draws his blade. At sight of it Sukeroku immediately recognises that it is the precious weapon of his search. Later he kills the villain and takes the sword, when a new danger threatens him as the men of the enemy are about to surround him. He looks about to find a place of concealment, and as a last resort jumps into a big water tank used on the occasion of a fire. Throwing aside a pyramid of small tubs, that are used as ornaments across the top of the same, he knocks the bottom out of one and placing it over his head allows it to float on the surface of the water. The searching party look everywhere to find him. They even climb to the roof of the house, but Sukeroku and his stolen sword are safe under the water. When he emerges real water splashes all over the stage and comes as a surprise in a play so entirely artificial and unreal. Perhaps on that very account it has the intended effect, for the audience is quite startled by the audacity and bravery of this highly imaginary hero. * * * * *