Not much is known about Matabei, quite contrary to the case of Saruwaka Kansaburo of Yedo, but an interesting side-light is thrown upon him by _Kabuki Koto Hajime_, or Beginnings of Kabuki, which says that Murayama Matabei asked the governor when he was going to pay his respects at Gion; meaning by this, at what time the theatres of the Gion district in Kyoto were to begin again, but the governor withheld his consent. Thereupon Matabei followed him to his residence, and slept under the eaves, where he was exposed to rain and his clothes were spoiled so that he became ill and thin as a ghost. His followers brought him food, and afterwards his patience was rewarded, for his petition for the reopening of the Kyoto theatres was granted. While Kansaburo is remembered as the founder of Yedo Kabuki, as well as for all his honours and triumphs, Matabei, the Kyoto actor-manager, in his long fight for his profession will endear himself to all lovers of the theatre. Although the authorities of the day may have thought it expedient to do away with the theatre, not caring to admit that such an institution is a necessary part of life and cannot be destroyed, yet something must be said for their attitude. They felt obliged to keep order, as the theatres had become unruly places where the new turbulent spirit of the people was finding expression, and might have gone beyond the bounds if left unchecked. Mr. Ihara, in his comments on the abolition of the Wakashu Kabuki, expresses the belief that this strict measure had unexpected benefits. Onna and Wakashu Kabuki had made an appeal merely to the eyes and ears, and personal attractiveness was the main object. In consequence, inexperienced youths held the centre of the stage, while mature actors were obliged to serve as foils. With the abolition of Wakashu Kabuki, Yaro Kabuki, or the Men’s Stage, came about, but this term was used only for a short time to distinguish the performances from the Wakashu. Yaro Kabuki was the second epoch in the male theatre that with great strides was to develop conventions, ceremonies, customs, actors, plays, and playwrights, such as have made Kabuki a thoroughly characteristic institution of Japan. [Illustration: Crest of Ichimura Uzaemon (Orange and leaves).] [Illustration: Crest of Kataoka Ichixo (Leaf of Icho tree).] CHAPTER X THEATRES OF THE THREE TOWNS The intense theatre activity of Yedo, Kyoto, and Osaka that followed in the wake of the edict against Wakashu Kabuki was but the outcome of the growing consciousness of the people and an expression of their natural art craving. The competition between the stages of the three towns brought about rapid developments in every direction, and many of the conventions that distinguish the modern stage were inaugurated at this time.