Danjuro played another piece, _Soga no Goro_, at the Ichimura-za, which became the inspiration of every actor in later times. When he acted Goro, the hero of the Soga play dealing with the revenge of the Soga brothers upon the slayer of their father, he wore a kimono embroidered in a design of lightning, and three rice measures, or three boxes of graduated size fitting into each other. After this he took three rice measures as his crest, and this was to become one of the most famous actor-symbols on the Japanese stage. Danjuro journeyed to Kyoto and Osaka, and astonished the audiences in these cities by his originality and activity, the country people flocking in from the outlying districts. In Osaka he was so well received that a popular song sang his praises. He studied short poems while in Kyoto, and his teacher gave him a _nom de plume_, the custom of an actor taking a poetry-name originating with him. An account is given in _Kabuki Koto Hajime_, or Beginnings of Kabuki, of Danjuro’s meeting with Tojuro. Danjuro went to the theatre to see Tojuro act, but found that he was absent on account of illness. Danjuro greatly regretted that he was unable to see Tojuro on the stage. But on the following day a messenger came from Tojuro inviting him to dinner at a restaurant. When Danjuro reached the place, Tojuro failed to make an appearance, and after he had waited for a long time and was beginning to grow impatient he saw his host in ordinary dress arranging flowers in another room without as much as casting a glance in the direction of his guest, as unconcerned as though quite unaware of his presence. This made Danjuro angry, and he was just on the point of retiring when a messenger from Tojuro apologised for the delay and said he would join him immediately. He had changed his clothing, wearing his very best, and received his guest in the most dignified manner. Danjuro was so much impressed by his appearance that he said there was no necessity to see him act, and left for Yedo the next day. The gossip of the time said that Tojuro planned to overawe his Yedo rival, and had determined that no Yedo actor should carry away laurels from Kyoto during his lifetime, so that if this report be true the long-established rivalry between the theatres of Yedo and those of Osaka and Kyoto had already begun at this time.