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 for a part, the great actor sits on the mat before a large swinging mirror. Except for a character face little disguise is used, as daylight spoils its effect. Three or four meek valets wait upon this spoiled and whimsical old autocrat, and the whole theatre staff attends. The value of his wardrobe, kept in immense covered bamboo baskets, is very great, and its care a serious matter. Part of it was once stolen, and when the whole Tokio police force succeeded in restoring it Danjiro announced that he could never again wear what the touch of a thief had defiled.

Genoske, fourth of his name and line, and Sodanje, a cousin of Danjiro, equally prove the heredity of Japanese genius, and are favorites of the Tokio public. Young actors pay the great stars for the privilege of joining their companies, and studying their methods. Danjiro is said to receive three thousand dollars from the Shintomiza theatre for the year or season, which lasts from early fall until after the cherry blossoms. His connection with the Shintomiza is like that of a societaire with the Comédie Frangaise. Yet he plays in other Tokio theatres, has filled engagements in other cities, and everywhere receives from perquisites, fees, and gifts more than the amount of his salary.

The Japanese artist is fully aware of the aid ingenious advertising may lend to genius. Drawing-room engagements do not yet contribute a part of the income of a great actor; but such a one was once brought to drink tea at a foreign house, and obligingly recited from his great roles, and through the interpreter, talked most interestingly to us of his art and stage business. In a few days the native newspapers, the vernacular press, as the British dailies term it, contained accounts of a great entertainment offered this favorite actor by some foreign residents, and the simple afternoon tea of six people was lost to view in the description of the elaborate banquet and attending crowd. 110