occasion of thwarting her efforts and of putting forward Kunityo, a younger prince, whose gentler and more refined manner gained him many partisans at Court. In despair of winning her cause, the Lady of Kasuga fled to Suruga in the garb of a pilgrim and begged Iyeyasu to decide between the rival candidates. The old man thereupon returned to Yedo and subjected the brothers to searching tests of both intellectual and physical capacity. In all these the more Spartan pupil of the samurai's wife proved victorious. Up to this point the plot does not differ very materially from ordinary histories of disputed succession, but the last act is peculiarly illustrative of woman's status during the Tokugawa régime. Asked to choose her own reward for service so admirably rendered, the preceptress of Iyemitsu solicits the restoration to her husband of his rank and estates; but he, regarding such a proposal as wounding to his honour, proceeds to divorce her. Iyeyasu then offers to make the wife a daimyō, but she refuses, on the ground that to accept would be to still further dishonour her husband. In the end Inaba is reinstated for having exhibited a proper spirit of pride and independence, while the Lady of Kasuga resumes her place at his side.
On the lines of this play, in which conflict of scheming interests is substituted for hand-to-hand fighting, while a clearly developed story replaces the old olla podrida of loosely connected scenes, there is great hope of raising popular drama from a somewhat crude condition to the level of serious art. It has never aimed at merely amusing the populace; it has always professed to instruct them. In the hands of Mr. Fukuchi and men of his stamp its patriotic bias need not be weakened, while its artistic worth will be
