In the consuming passion for loyalty and self-sacrifice, character was often subordinate, and the heroes and heroines of the plays went to absurd lengths to justify the overwhelming theme. The ethics taught by these rôles differ in many respects from the familiar figures of the Western stage, yet at the same time the depths of human nature are sounded, the same tragedies and comedies that make the whole world kin; the eternal clash of evil and good. In addition, there are the rôles fashioned out of the pure fabric of fancy, showing an unquenchable thirst for beauty, and love for the striking and the strange, grotesque and supernatural, creatures called forth from enchanted gardens of the imagination. A strict adherence to rôles was brought about in the early stages of Kabuki’s development, and this system persisted. There were first the tateyaku, or hero rôles, characters always championing the right; the katakiyaku, or villain specialty, a necessary rôle where the upright and ignoble were thrown into contrast; oyajigata, or old men’s rôles, and kawashagata, the characters of elderly females. The comedian was called dokegata, while onnagata was the name given to men who played women’s rôles, and koyaku were children. As the plays became more complex these rôles underwent modifications. Of villains there was a rogues’ gallery,—an interesting study in itself. Deep-dyed personages, irredeemably wicked, were created, the worst of the worst; bad men in gorgeous costumes were sometimes half good, and there were villains with a hint of pathos in their natures, while the smooth individual who could smile and smile and be a villain still was among this company. The favourite character of this description was one outwardly bad, a disguise to cloak the good within, a person merely pretending to be among the evildoers but all the time assisting the righteous cause. Many different types of heroes were born, from those of honest peasantry to the samurai and aristocrat. Venerable old men were as popular as callow youths. A popular rôle was a karo, or chief retainer, in the service of a feudal lord, and a mediator who tried to bring peace and harmony between warring factions was a rôle that pleased the people. Brave fighting men who could hold off an overwhelming number of attackers thrilled the audience; young daimyo, elegant, effeminate, robed in rich brocades; otokodate or chivalrous commoners, ready to unsheathe their swords in the protection of the brow-beaten lower classes; lovers torn between the affections and stern duty, and strong unrelenting characters forsaking wives and children to wander about the land in search of an enemy that the ends of justice might be attained,—such were the rôles played to the delight of their audiences by the yakusha, or rôle men.