Nakamura Juzo began to rise as Shinshiro declined. Juzo had the advantage of being ten years younger than Shinshiro, and was well-born, since he was the son of a samurai who had turned ronin. He lived in Osaka, and as his younger brother became an onnagata, he was also influenced to enter the profession, performing during his earlier career in provincial theatres, especially in Ise, and later in Yedo. His specialty was to represent samurai, and he was excellent as a stage fighter. No doubt his samurai antecedents had given him his taste in this direction. As samurai of noble mien and aristocratic bearing he was at his best. Yet the criticism of the time records that he was a dry and uninteresting actor, and failed to choose the bright-hued kimono bearing striking designs, that expressed the player’s taste, delighted the people, and inspired the print artists. Many other good actors there were when the above three stars were shining. There was Sakiyama Koshiro, of the Osaka stage, who was active for fifty-five years, dying at 70. He was a fine dancer, especially in pieces adapted from the Nō. He adopted the son of a ronin to succeed him, and his line stopped, and was then renewed again, but eventually died away. And there was Arashi Sanyemon, the third, the real son of the second Arashi, who had been a Genroku star. He was not only an actor but a theatre manager as well, and excelled in wagoto, or love-making. He was also noted for his dancing, and played in pieces that had been handed down by his two predecessors. Sadoshima Chogoro, who had invited the second Danjuro to play in his theatre in Osaka, and gave him the high salary that he demanded, was something of an exception in the theatre world of the three stages, for he never secured fame as an actor. He had, however, much to do with the establishment of shosagoto, or the music-drama of Kabuki, on a higher level. This Sadoshima Chogoro was the son of Dempachi, a dokegata, or comedian, and a dancer of great skill who was prominent just before Genroku. Chogoro was fortunate in having such an experienced stage father, and he was soon apprenticed to dancing. The chroniclers of Kabuki tell how the father taught the boy to dance on the goban, or small table used for playing go, the national chess game. The child was often summoned by persons of high degree to take part in entertainments, and once a prince ordered an artist to make a model of him dancing on the goban. He never seriously competed for a place among the actors, but long remained Kabuki’s most famous dancing teacher. When he reached old age he shaved his head and retired from the world, taking up his abode in front of Kennin-ji, a Buddhist temple of Kyoto. Sadoshima Chogoro left one of Kabuki’s literary treasures, the _Sadoshima Nikki_, or Journal of Sadoshima, in which he disclosed the secrets of shosagoto.