The revolving stage that plays such an important part in the scenery of Kabuki has a complicated technique of its own. It allows of three, and sometimes four sets of scenes, that may be in the course of preparation while the actors are engaged in front. But as a general rule the carpenters are busy with but one full set, while the play proceeds. For an extension of the stage picture, the stage is turned to right and left, or revolves half way for some new scene. In addition to the surprises in store for the playgoer in the changes effected by the revolving stage, there are the strange appearances of characters forced up through a large opening in the floor of the stage, like groups of statuary, and devices for the sudden disappearance of characters through walls and steps, the elaborate apparatus for ghosts that emerge through lanterns or vanish into thin air, and for chunori, or air-riding feats, when a character suspended in mid-air moves across the stage. The kodogu, or small properties of Kabuki, are a study in themselves,—the lantern in all its shapes and sizes, the oil-paper umbrella, vases, and hanging pictures. The articles in use are not made to look beautiful at a distance, but are genuinely so: tall candle-sticks in brass or lacquer, chests, sword-rests, cups, swords, helmets, lacquered tables, tobacco-boxes, bronze utensils for a temple altar, or Buddhist images, they all represent the arts and crafts of the country. Keen to adopt and adapt new things, Kabuki is now sensitive to European stage influences, and with a characteristic lack of confidence in its own creations, appears to be opening the door too wide in welcoming the ideas of the West. The thought can hardly be avoided, however, that the achievements of the Kabuki craftsmen are a contribution to the world’s theatre. But what the place and value of their work in comparison with the stage of the West remain for the judgement of the future. [Illustration: Crest of Onoe Kikugoro (Two fans).] [Illustration: Crest of Onoe Tamizo (Stork and plum combined).] [Illustration: Crest of Arashi Kichisaburo (Combination three characters).] CHAPTER V KABUKI’S SCHOOL OF ACTING A high standard of acting is maintained among the actors of Kabuki. It is an hereditary profession; the actors, trained from childhood, are brought up in the atmosphere of the theatre. Tamura Nariyoshi, the theatre manager of Meiji, described the circumstances of the actors’ growth when he once likened them to farmers who plant rice but know nothing of chemistry, watch the plants shooting up yet have no scientific knowledge of the alchemy of water, sun, or fertilisation. In the same manner are the talents of the actors cultivated. They are entirely unconscious of the laws that govern their art, and when they reach a high position among their fellows it is but the flowering of natural genius.