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so regarded in Japan. Consequently, with us, some kind of reward or chastisement is generally meted out to the fictitious characters introduced in the scene, and these representations, either in books or on the stage, are carried out to such a pitch as to leave some sort of profound impression on the minds of the readers or of the audience. Whatever the other remaining parts may be, these features always remain uppermost in the minds of the reader or of the theatre-goer. The prominent point thus produced is generally a transcendent loyalty, such as a loyal servant would feel for his master; the great fortitude and perseverance which one exhibits in the cause of justice and righteousness; severe suffering for the sake of a dear friend; the devotion of parents and their self-sacrifice; great suffering, or even self-sacrifice, of a wife for her husband, or of a mother for her son to enable the fulfilment of duty to the lord and master. I can myself remember many times shedding tears when reading works of fiction, or when listening to the singing of dramatic songs, or while witnessing dramatic performances. This peculiarity seems to be wanting on the Western stage. I remember once in London, years ago, my eyes becoming moist when I saw a character on the stage, who was being taken away as a prisoner, shaking hands with the man who had been his dear friend, but who ought to have been suspected as the cause of his being taken prisoner, and told him, as he went, that he would never suspect or ever forsake him, giving the audience a strong impression of chivalric moral strength. But that was only a solitary experience.

If I say anything about Shakespeare, I fear I should at once be considered to be overstepping propriety; but I must say that even Shakespeare’s plays, some of which I have read or seen performed, have never given me such impressions as do the plays of Japan. Whenever we go to the Western stages we appreciate the decorations, we admire the splendid movements and good figures of the actors and actresses, and, so far as we can understand it, the striking elegance and powerful delivery of their dialogue, and we enjoy ourselves as much as could be hoped; but on coming home we find nothing left on our minds which might serve as an incentive in our future career. No inspiration, no emulation! Such, then, seems to be the difference between our dramatic works and those of Western nations. If ever the good points of our dramatic works are appreciated by the Western peoples, we shall feel highly flattered.

I must now leave off speaking of the Tokugawa period, and must deal with the Meiji era, in which we are now living. The infusion of European ideas made all things very different with us, and literature is also making a new move. I cannot, however, deal with the subject at length; I can only state a few