There is no sharp practice in the way of reserved seats in Japanese theatres. Neither is there necessity to go outside for a clove or browned coffee. When once seated you are at your ease, not having to draw yourself up for any other fellow. The second-grade places are of a cheaper order, where one can sit on the floor, there being no seats, or stand upon the ground, there being no floor, the earth doing duty in that regard. One cent and a half and two cents and a half give the grades of the establishments. They are all, best as well as inferior, lighted with the domestic-made candle, and when the original dips of our grandmothers are remembered, the kind of a candle used is described. The candles smoke as well as the audience. There is a large stock of amusement to be had in a one and a half cent concern, that is, if you are not particular about the æsthetic nature of the surroundings, and do not carry with you a cultivated musical ear. These places do not carry on their pay-roll any large number of star actors, or a numerous stock company, and they do not devote much time to the rehearsal of parts, as it is the duty of the prompter to flit from one actor to another with the lines of the dialogue in one hand, and in the other a stiff paper lantern. Bending low, he reads in a tone readily caught by the actor the lines, which are duly repeated, while the prompter "is doing his duty" by the next one. It is one of the most interesting features of a play, this constant flitting of the prompter. If any fellow about the establishment earns his pay, the prompter is the man. [Illustration: CHINESE PROPERTY-ROOM.]