They meet in cherry-blossom time at Kiyomizu, that fine old Buddhist temple built up on the steep hillside commanding a view of Kyoto nestling in its wide valley. This is always an appropriate play for the cherry season, and these flowers are used as a pendent curtain across the stage, while trees in full bloom are placed on either side, and in the centre there is an ornate red-lacquered temple structure. In addition to its romance, the play of Usuyuki and Sayemon is one of the most famous sword pieces of the Japanese stage. Sayemon presents the gift of a sword to the temple, but an evil swordsmith damages it in order that Sayemon may be punished, jealousy prompting the villain to come between the lovers. Usuyuki and Sayemon have just been married, when messengers arrive bearing accusations against Sayemon on account of the tampered sword. The affectionate, innocent young couple are parted. Usuyuki is taken into the custody of her husband’s father, and Sayemon entrusted to the keeping of his wife’s father. Love laughs at barriers, however, and they secretly escape together. The fathers commit suicide that their children may be cleared of all doubts and suspicions, and Usuyuki and her husband return to enjoy an uninterrupted life of peace and happiness. * * * * * Miyuki and Asojiro are household names in Japan, the chief figures in a romance that started one summer evening in Kyoto, when at a fire-fly festival on the river their boats came together, and they fell in love at first sight, exchanging fans on which they had written extemporaneous verse. They plighted their troth, but stern samurai business kept Asojiro in another part of the country, and Miyuki, neglected and forlorn, wept so much that she became blind, and started to wander about the country with her nurse trying to find her faithless lover. The finest scene is that in which the blind girl plays the koto, or long harp-like instrument, at an inn where her lover is stopping. Asojiro and an elderly samurai are on a special mission, and his companion thinks only of his duty, and allows for no delinquency or soft-heartedness on the part of Asojiro, who is overcome when he finds the blind koto player, brought in by the innkeeper to amuse them, is no other than his own Miyuki. All he can do is to give her some remembrance and a sum of money which he leaves with the innkeeper. By these tokens Miyuki knows that she has been in the presence of Asojiro, and half distracted she runs to the river to overtake her fleeing lover, who has been obliged by his taskmaster of a travelling companion to hasten on his way. The river has risen, and the ferrymen will not take any more passengers across. There are many wet eyes in the audience, for the parting of young lovers never fails to appeal to the tender-hearted in all countries the sun shines upon.