have told me that it was probably adopted from a foreign source." Mr. Danjuro held the opposite opinion.
"And how far is your stage controlled by guilds?"
"The old system has entirely broken down. Formerly some six or seven families had complete control of the theatre. A novice could only enter the profession through adoption by one or other of these. He received an elaborate education; he adopted the name and a modified form of the crest of his patron. The right to play certain parts was vested in certain actors, who transmitted the privilege. But now all that is changed. Any one can go on the stage and play any part he likes. There is no restriction and no training either."
"And is the special tax on actors now abolished, giving place to an income-tax?"
"No; that is an error. We still pay a heavy tax, irrespective of income."
"One more question. Have you any association corresponding to that which in England is known by the name of the Actors' Benevolent Fund?"
"Yes; we have a large guild, which undertakes to help members overtaken by misfortune and to expel others whose actions bring discredit on the stage. For we love our art, and are rewarded by its growing popularity with all classes of the community."
On this patriotic note I thought it well to close. I urged Kishimoto to exhaust his stock of honorifics in a suitable vote of thanks, and, as I took leave of the patient, archiepiscopal veteran, I wondered how a mosquito feels when it has been stinging with impertinent curiosity, hour after hour, some grave, immemorial image of Buddha.
