Kagekiyo, a legendary character, the hero of several Nō dramas, is the central figure in an aragoto piece in the possession of the Ichikawa family. It represents the actors’ impress upon theatre material, nebulous, without the concentration that comes from a literary mind. Yet to lovers of the unreal it is full of attraction. Certainly very little of the world of reality clings about the material or movement of this one-act species of drama which has for motive the valour and strength of Kagekiyo, a general of the Heike clan, whose cause has been defeated and who is confined in a cavern. His appearance is dramatic in the extreme, when the guards allow him to gaze forth from a square opening in the bars of his prison-cave. His face is heavily lined with broad red lines, his fierce and threatening top-knot of hair that stands straight on end is accentuated by peculiar side wings of lacquered wood suggesting strands of hair that form a frame for the ferocious countenance. His costume of glittering gold brocade, with vivid touches of green and red, is in keeping with the strange visage of the dauntless warrior. That he may taste all the bitterness of defeat, his wife and daughter are led in bound with rope, and he is brought forth to speak with them, his arms tied behind him in the most approved manner of the modern serial moving picture. When everything seems against the outlandish hero, he is freed from his fetters and allowed to sit on a huge boulder in the centre of the stage, where he postures as he relates the misfortunes of his clan and declares his loyalty—an active figure whose every gesture is all the more conspicuous because of the groupings of the immovable personages on either side. Kagekiyo shows some traces of human emotion, and is overcome at the treatment meted out to his wife and daughter, yet still keeps a stout heart, even when his son is placed within the gloomy cavern. He scorns the Genji generals who gaze on his captivity, by refusing their offerings of food, kicking it unceremoniously away, and bellows in the extravagant style that is so typical of aragoto. At length his outraged feeling getting the best of him he lifts up the great stone on which he has been sitting and uses it as a missile to throw at the Genji followers, who, driven hither and thither, are finally routed. Kagekiyo, fighting to a finish, reaches a climax of grotesqueness as he poses in triumphant attitude brandishing a large beam of wood which has been his weapon of defence. VI Odori is closely allied to the Kabuki arts, and forms an essential part of a great variety of pieces. Since without it no theatre programme would be considered complete, odori becomes one of the most important Kabuki forms.