Masaoka unfolds a low screen that discloses a black lacquer table, under which are a gilded rice pot and water jar, and other kitchen utensils for boiling the rice and making tea. Those accustomed to realism will question how real food is to be cooked with such gorgeous and apparently theatrical stage furniture, and then will become lost in admiration, for the actor suggests all the necessary movements without actually resorting to them. The gold water ladle is used to dip up imaginary water, and the uncooked grains of rice are seen as though the water had all been poured off. Masaoka’s task comes to an end. The bubbling of the steam against the lid of the rice pot is imitated behind the scenes, and a black-robed property man is plainly seen to move a screen in such a manner as to place within easy reach of the faithful nurse the food that has taken fully an hour to prepare. The actor plays many a rôle in his time, but it is given to those of Kabuki to play many rôles in a day. He may act as a humble servant, then as a robber, a resplendent priest, a drunkard, an upright samurai, and terminate his day’s work by appearing in a comic or picturesque dance. CHAPTER VI ACTOR CEREMONIALS The Kabuki actor has long maintained a high regard for the dignity of his calling, and carefully preserves the old ceremonials in connection with elevation in rank, memorial plays in honour of an ancestor, introductions of young actors, succession to the headship of an actor family, and the observances of the anniversaries of actors past and gone. These are stage events which serve to deepen the personal interest the playgoer takes in the actors, and are links that bind the player to the past, and express his hope in the future. Kojo, or the announcement ceremony, is the one seen most frequently. The curtain is drawn aside, and there is seen a double line of actors prostrating themselves in the attitude of humility before the audience, their faces resting upon their outstretched hands. Behind them plain gold screens are arranged, they kneel on a long scarlet rug, and are dressed in the stiff skirts and shoulder-straps that formed the actor’s attire of ceremony in the old days. A little apart is the announcer, generally an elderly man who has been long in the service of the actors, a sort of chief of staff of personal attendants. He calls out in a peculiar voice, asking every one in the audience to pay attention. Then the chief actor raises his head, and addressing the audience with the utmost courtesy draws attention to the young man who has changed his name and is at the threshold of his career, expressing the hope that the audience will pardon his mistakes, and take an interest in his future progress. The father of the actor whose rank is thus raised may also speak a few words in his son’s behalf, and the chief object of interest then raises his face modestly, and asks the patronage of the audience.