The specialties of the newly established male stage were simple at first, then became more and more complex. They were the tateyaku, or chief actor, who played the hero, always a good, courageous, and loyal personage. The katakiyaku was the name of the specialty in villains,—the bold, bad characters who caused all the trouble. There were the onnagata, or actors playing women’s rôles; the dokegata, or comedians; oyajigata, or elderly men, and the kawashagata, or females of middle age. Youthful heroes were played by wakashugata, while koyakugata was the name given those who took children’s rôles. With the increase in the importance of acting, and the overwhelming interest the public took in the competition of the actors, the most complicated system of rank came to be bestowed upon the players. During the Wakashu Kabuki regime, the audiences were simply charmed by the dancing of attractive young men, but as soon as complicated plays brought diversified characters, the people became most critical of acting, a characteristic that has remained as regards the Japanese playgoer. This holds true equally of modern audiences, that are ever alert to see the differences between good and indifferent acting, and which they appear to find much more worthy of consideration than the merits or demerits of the play. Playgoers took keen interest in the rank earned by their favourites, and were elated if an actor became more prominent, and equally disturbed if he did not live up to the promise of his early career. The most important rank was termed jojo-kichi, or best-best-good. Intermediate rank was marked by the Chinese characters denoting jojo or best-best, chu-no-jojo or middle-best-best, and chu-no-jo, middle-best. Later on, the system determining the talents of the actors became elaborate. There was first the superlative standard, called head-of-all-acting, and this was like Miranda, created of every creature’s best, top of admiration. Murui followed, a most coveted title, signifying without rival, applied to the best in each specialty, whether it was an onnagata or a tateyaku. The third rank was jojo-kichi, best-best-good, used for the second in each specialty, and the fourth was shingoku-jojo-kichi, or truest-best-best-good; the fifth, dai-jojo-kichi, or great-best-best-good; while the sixth was called ko-jojo-kichi, or little-best-best-good. The seventh rank was jojo-kichi, best-best-good. This was the standard rank, the others were given only to the great stars. Below jojo-kichi were the eighth and ninth ranks, and still lower a number of different terms diminishing in value. These were written in Chinese characters beside the actor’s name on the programme and on the bill-boards outside the theatre, of which he must have been inordinately proud.