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engagements through an agent, who receives only a percentage of her gains. The training is continuous and severe. To a foreigner the dancing will appear graceful but monotonous; it has none of the free, vigorous motion which we associate with the term: on the other hand, for the connoisseur each gesture is significant, each pose symbolic. To appreciate many of the "dances," requiring hours of patient rehearsal, it would be necessary to catch continual allusion to poems, legends, and flowers, with which the treasure-house of Japanese memory is stored. Those who would deny the applicability of the term "music" to "the strummings and squealings of Orientals," would yet admit that both the koto and samisen (the stringed instruments most in vogue) are not to be mastered without constant practice, and the irregular rhythm of the songs, with their abrupt intervals and capricious repetitions, cannot be easy to render until the voice has attained extreme flexibility. On the mysteries of Japanese music, however, seeing that the best authorities are at variance, only an expert dare pronounce judgment. To return to the question of the social status of the geisha, I should say that it corresponds more exactly with that of a Parisian actress than of an Athenian hetaira. Convention having banished the actress from the Japanese stage, the geisha takes her place as the natural recipient of masculine homage. She is much courted, and sometimes makes a brilliant match. There are a large number who make the profession an excuse for attracting rich admirers, just as the name of "actress" in more Puritan climes will cover a multitude of sins. But a professional courtesan she is not: her favours are not always for sale to the highest