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 The Government exercises a certain censorship of the stage, as of the press, suppressing an obnoxious play, and arresting manager and company if necessary. No allusions to present political events are allowed, and the authorities permit the expression of no disturbing ideas. The Tokugawas exercised this censorship towards the play of the “Forty-seven Ronins,” because its main argument and many of its scenes reflected too clearly the corrupt practises of the Shogun’s court. Even its name was changed, and, until the Restoration, it was presented as the Chiushingura (Loyal League), and the scenes strayed far from historic fact. Since the new era, managers advertise their representations as most closely following the actual records, and every fresh contribution from historian or antiquarian is availed of.

sovereigns and reigning families are parvenus compared to the ruler and the imperial house of Japan, which shows an unbroken line from the accession of Jimmu Tenno, the first Emperor in 660, down to the present son of Heaven, Mutsu Hito, one hundred and twenty-first Emperor of his line.

During the feudal period, the Emperors, virtually prisoners of their vassals, the Shoguns, lived and died within the yellow palace walls of Kioto, knowing nothing of their subjects, and unknown by them. After death, each was deified under a posthumous appellation, and there his history ceased. Too sacred a being to be spoken of by his personal name, at the mention of his title all Japanese make an unconscious reverence even now. When 111