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288 poetical passages of this drama, with their pivot-words and closely woven allusive phrases. Yet possibly there is more in them than we are willing to acknowledge. The Japanese find them the choicest part of the work, and they might not unreasonably deny to foreigners the right to sit in judgment upon the finer raptures of their national muse. As a poet Chikamatsu may readily be allowed one merit: if Japan ever produces epic, dramatic, or long narrative poems of importance, he will have done much to prepare the way.

The popularity of the Kokusenya Kassen with the audiences of Ōsaka was so great as to call for two continuations in the same style, and it is still one of the stock pieces of the Japanese theatre.

Meanwhile a somewhat different development of the dramatic art was taking place—chiefly at Yedo. Kabuki theatres, which had men for actors, had been established there before the middle of the seventeenth century. The pieces produced in these theatres were at first the composition of the actors engaged in them, but towards the beginning of the eighteenth century we hear of definite authors whose works were published under the title of Kyaku-bon. Native critics agree that the Kyaku-bon contain little that is of value as literature. In form they approach the European drama far more nearly than do the Jōruri. The dialogue is here all-important, the chorus, with its narratives and poetical descriptions, taking a subordinate position or being altogether wanting.