In _Kokon Yakusha Taizen_, or Ancient and Modern Actors, published by Hachimojiya in the third year of Kwanyei (1791), there is a statement as to the origin of these ranks. In China the rank was given to loyal persons who were considered worthy of reward for merit. The titles jojo and jo-chu-no-jo were conferred upon them. Murasaki Shikibu, the famous court lady, who wrote the _Genji Monogatari_, or stories concerning the adventures, largely romantic, of Prince Genji, used the rank of jojo-kichi when she wished to give one of her heroes a meritorious title, taking the jojo, or best-best, from the custom prevailing in China, and adding kichi, or good, on her own account. As the art of the actors developed their genius was recognised, and this system of reward devised. At first the classification fell into the categories of good, middle, and poor, but gradually the most extravagant terms were used to denote the pinnacle of art achieved. Along with this minutiæ in connection with acting the dramatic critic was called into being, the actor and his critic being complements of each other the world over. Persons of literary pretensions began to criticise the actors, and published their opinions. It is not clear when the first of these criticisms appeared, but Ihara Seiseiin mentions 1656 as the probable date. At first the criticisms dealt largely with the personal appearances of the onnagata, who were the most fascinating players on the stage, their borrowed feminine charms and graces being attractive to men and women alike. Then followed publications relating to anecdotes of the actors. Criticism improved as the critics were given more food for thought, and were able to judge the value and quality of the acting, rather than mere descriptions of an actor’s dress, face, or manners. There were two famous dramatic critics during the fruitful Genroku period, when the theatre rose to the summit of its achievements. One of these was Ihara Saikaku, the author of a popular novel, _Ukiyo Zoshi_, that was not distinguished for its moral tone, and other writings, and Hojo Danshin, a composer of haiku, or short poems. Their criticisms were written in their leisure hours and were a matter of their own pleasure. They were blessed in that they were not obliged to think of newspaper proprietors, sensitive theatre managers, or the vagaries of the reading public, but could spin out of their heads the fancies that came to them after attending the theatre. They were not obliged to rush to some smoky, noisy newspaper office, there to grind out their copy at a late hour on the typewriter with printers’ devils ready to snatch in desperate hurry. No doubt they sat all day long on the tatami, or straw mats, of their dwelling, looking out upon some quiet landscape scene, and thinking at leisure.