Yet there was in Japan a tendency towards a theatre development similar to Europe, had not the Government so resolutely set itself against all freedom of action on the part of the theatre folk. In this early period of expansion there were many good actors whose traditions were carried on and who made a firm foundation for the brilliant Genroku age, Kabuki’s greatest period of growth and out-flowering. Among the tateyaku, or leading actors, before Genroku, there were three men of influence—Arashi Sanyemon, of Yedo; Fujita Koheiji, of Kyoto; and Araki Yojibei, of Osaka. Arashi Sanyemon was born in 1635 and died in 1690. He came to Yedo from Settsu Province, where his father was a prosperous fish dealer. In one of his popular plays there was a line about the moon having its clouds and the flowers their storms, and people quoting this called out “Arashi!” when he appeared on the street. This was a poetical term meaning mountain-wind, or storm. Sanyemon thought this a good stage name, and thereafter adopted it, a cognomen that has been used by actors ever since. Sanyemon was not content to play to Yedo audiences, but went to Osaka, where he became the proprietor of a theatre. He greatly improved plays, wore magnificent garments, and acted to the accompaniment of flute, drum, and samisen. His plays served Chikamatsu Monzaemon as originals when that dramatist wrote two of his best-known doll-dramas. Arashi Sanyemon was succeeded by his son, who became one of the noted actors of Genroku. Contemporary with Arashi Sanyemon was Fujita Koheiji, of Kyoto. He had come from the adjacent province of Ise, after acting in small country theatres, and was a close rival to Arashi Sanyemon. It is said that he never lost his popularity on the stage during his career, although he did not attempt to hide the ravages of time by using face powder in making up. His gestures were those of real life, and were considered as models that were handed down to his successors. Fukui Yagozaemon, of Osaka, the first playwright to compose long pieces of several acts, had much to do with increasing Koheiji’s reputation, writing plays for him that pleased the public.