Likewise, Yagozaemon was largely responsible for the fame of another influential actor, Araki Yojibei, of Osaka, who ended his earthly career in 1700. This early playwright, Yagozaemon, was not only a stage writer, but a good actor as well, and was successful as a kawashagata, or middle-aged woman character. He was one of the stage authorities of his day, and wrote a play for Yojibei that was the great success of the time. It was _Hinin Adauchi_, or The Beggar’s Revenge, the first long play to be composed in Osaka, free from all association with the Nō drama, a piece that has long survived, with modifications, and is still a favourite with modern actors. Yojibei was versatile; he was praised as clever in stage fighting and excellent when impersonating a wounded man, so that he was an early advocate of realism in acting. Among the dokegata, or comedians, there was an actor who could boast of blue blood when it came to theatre lineage. He was Sadoshima Dempachi. His father before him was Sadoshima Denbei, who had headed one of the Onna Kabuki companies in Kyoto. Dempachi had been brought up in the theatre atmosphere. From the theatre chronicles it is found that he was ugly and did not have a pleasing voice, two disqualifications for a tateyaku, or chief actor, but he was a dancer _par excellence_, and this covered a multitude of sins, since dancing is the basis of the Japanese actor’s art. Sadoshima Dempachi was fortunate in the possession of a son who inherited his genius, Sadoshima Chogoro, who, although less of an actor than a dancer, had much to do with the movements and postures of the newly arisen music-drama, and left behind him a journal concerned largely with the secrets of dancing, the _Sadoshima Nikki_, or Journal of Sadoshima. When the Wakashu Kabuki went out of existence and plays were produced that required complicated characters, a strict division of labour among the actors was carried out, and they were obliged to play only their own specialties. In the Onna Kabuki the rôles had been fixed as in the Nō theatre. There was a shite, or chief actor; a waki, or secondary player; and tsure, or assistants. In Wakashu Kabuki, the handsome youth who was selected as star of the company was called taiyu, or chief, while older actors acted as secondary and supporting players. As in the Nō there were kyogen shi, or comedians, so there were dokegata, or funny men, in the Wakashu Kabuki.