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 old Japanese songs of tragedy whose pain he had almost forgotten. The words reminded me at once that Madam Kosei, the well-known singer of gidayu or lyrical drama, was appearing in some entertainment-house close by; with much glee he received my suggestion to take him there. When we left the house the moon was seen nowhere.

“Dzden, den, den”—the sound of the three-stringed samisen trying for the right note was already heard when we sat ourselves down in the hall, where my artistic mind began soon to revolt against the electric-light, which only serves to diffuse the music deep or low, the song tragic or simple; I thought if we only could hear them in a small room, perhaps of eight mats, with candles lighted, where the voice reaches the ecstasy when it suffocates! The husky cough, quite natural for the professional singer who has forced her voice too severely, made us understand that we were going to hear Kosei in the tragic death of O Ryu, that poor willow-tree woman who grew under the blessing of dews and suns.

The audience hushed like water when the Rh