The second actor of importance at this time was Takeshima Kyozaemon, son of Yamato Dansuke, of O-Kuni Kabuki fame. Although he played often in Kyoto, he made Osaka his headquarters, and at last went to Yedo, where he played with Ikushima Shingoro, the unfortunate actor exiled because of a love affair with a lady-in-waiting of the Shogun’s Court. For three years he played at the Ichimura-za and Morita-za, and then took up his residence in Kyoto, where his son was the proprietor of a theatre. He was particularly partial to samurai rôles and knew how to handle a sword. His son was also a good actor, and succeeded to his name. The third famous actor of Tojuro’s time was Arashi Sanyemon, the second. He was younger than Tojuro and Kyoyemon, and died early. The first Arashi was his father, but the boy was evidently regarded as an ugly duckling, for his father did not consider that he possessed sufficient talent for a stage career, and he was apprenticed to a candle dealer, the business requiring him to travel from one place to another. When the elder Arashi was taken ill, the son was called to Osaka to take up the parental profession, and so had the difficult task of trying to live up to his father’s reputation. At first the audience laughed at him, but as he had the same face and voice as his father, he soon attracted attention and came to be regarded as one of the leading actors. Indeed, he was considered in some respects superior to his father, especially in the art of love-making; he was genuine and unaffected, and possessed a well-shaped nose and fine eyes. The foregoing actors were tateyaku. The most noted actor to take katakiyaku, or the villain rôle, of this period was Kataoka Nizaemon, who died in 1715. At first he was a samisen player of Osaka, and during his early years was associated with the management of Osaka theatres, beginning a stage career in middle life, yet reached high rank and was regarded as a genius. He was tall and well-proportioned, and had a fierce look in his eyes which gave him a decided advantage in the villain rôle. He could also play the hero well, but received great praise for his old men characters, a specialty that seems to have remained in the possession of this actor line, for the modern representative, Kataoka Nizaemon, of the Kabuki-za, Tokyo, never pleases his audiences better than when playing as oyajigata, or old men.