Dramatic entertainment given by the citizens of Tokio to General Grant : at the Shintomiza Theater, Meiji, 12th year, 7th month, 16th day

Ds

101

U.C. BERKELEY LIBRARIES

DRAMATIC ENTERTAINMENT

flf o(ji

IRANI,

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SHINTOMIZA THEATER,

MEIJI, 12th YEAR, 7th MONTH, 16th DAY.

E. MEIKLEJOHN & Co., Pi-inters, No. 16, Water Street, Yokohama,

University of California • Berkeley
From the papers of

ELI TAYLOR SHEPPARD

ANTIQUE BALLET.

THE POETS OF THE PAST.

This ancient divertisement belongs to a class of enter-
tainments which have been handed down from early times,
and which are of great traditional popularity. Such meaning
as it possesses is too complicated and involved for concise
explanation ; and indeed its value is chiefly dependent upon
the saltatory skill of the performers, and the taste and
splendor of their costumes. The three principal characters
are Sumi-yoshi, a God of Poetry (represented by the actor
Sadanji) ; Hitomaru, a poetic luminary in the Imperial Court
of Nara (Kikugoro) ; and and Tamatsu-shima, a brilliantly
endowed wife of the Emperor Inkio (Kakitsu). The chief
glories of Japanese poetry are attached to their names. The
action of the ballet is partly mythical, and partly associated
with historical events. The sudden change, toward the
end, from the region of imagination to the realities of com-
mon existence, in a grotesque dance in which many members
of the company participate, gives a totally illogical, but
highly animated termination to the display.

Y O S H I - I Y E :
A JAP AX EXE HISTORICAL DRAMA-

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INTRODUCTION.

About the middle of the eleventh century of the Christian
Era, the northern districts of Japan were agitated by a war
in which the chief commander on the Emperor's side was a
powerful noble named Yori-yoshi. The son of this general,
Yoshi-iye, then approaching the age of manhood, served
with valor and devotion throughout the contest, and, after
its successful termination, returned in honor with his father
to the Imperial Capital, Kioto.

Peace prevailed in the north for many years ; but toward
the end of 1091, a rebellion was fomented by Takehira and
lyehira, two sons of a warrior named Kiyowara, who had
served under Yoriyoshi in the previous war, and who was
believed by his family to have been insufficiently rewarded
for his loyalty. This revolt soon assumed formidable
dimensions. The duty of suppressing it was assigned to
several generals, whose efforts, however energetic and

sincere, were unequal to the occasion. Finally the sole
command was entrusted to Yoshi-iye, who had distinguished
himself in subordinate positions, but who had not been
universally regarded as entitled to so high a distinction. He
reorganized the army, initiated a new campaign, and by a
succession of victories reduced the daring insurgents to
submission. The peculiar feature of his triumph was the
clemency he displayed toward the vanquished enemy, at a
moment wtien their lives and possessions were at his sole
disposal.

These incidents, — which are of undoubted authenticity in
Japanese annals, — form the basis of the following drama.

CHAEACTEKS REPRESENTED.

YOSHI-IYE ; Commander-in-chief of the Loyal Forces, By DANJIURO.
INOUYE YORITOKI ; Yoshi-iye's Uncle and Governor

of Omi " SADANJI.

TOMOXO SUKEKANE ; a Retainer of Inouye " DANYEMON.

ARAKAWA SAKUZAYU ; a Drum Maker and Retainer

of Yoshi-iye " NAKAZO.

OYANO TARO ; a Retainer of Yoshi-iye " KODAXJI.

TAKEHIRA ; the Rebel Leader ' " SOJIUBO.

IYEHIRA ; his Brother " KAKITSU.

0-YANO ; Yoshi-iye's "Wife (disguised as Arakawa's

Daughter) " HAXSHIRO.

Two RETAINERS OF YOSHI-IYE, DISGUISED AS FARMERS.
OFFICERS AND SOLDIERS.

ACT I.

SCENE 1. — The house of Arakatca, the drum-maker, in
the province of Omi. A large drum is seen, ready for
delivery to the Temple called Mi-dera. Yoshi-iye, in com-
mon garb, appears as the guest of Arakaica. He has given
out that he has been unjustly disgraced by the Emperor,

and that his mind is affected and his memory gone in
consequence ; and he passes his days in idleness, fishing
without result, and the like. The workmen make sport of
him, but he is protected by Arakaira and his supposed
daughter (Y'oxhi-ii/c's wife), who nevertheless believe him to
be afflicted as he appears,

A messenger comes from Mi-dcra for the new drum. He is
informed that it is finished, and that after proper testing it
will be sent to its destination. YoxJu'-i-i/r enters^ returning
from one of his fruitless fishing excursions, and expresses a
curiosity respecting the drum. Arakawa tells him its pur-
pose, and says that as Yoshi-iye has been a leader of soldiers,
he shall prove its quality, — it having been the ancient cus-
tom for a general to use a drum in communicating his
orders. Yoxlti- ///<? beats it with intentional awkwardness, and
the workmen, attracted by the sound, come in and jeer at him,
while Arakawa and the young woman defend him, as usual,
and lament his infirmities. Assuming indifference to all, Yoshi-
vje lies down and sleeps. When he is left alone, his confi-
dential agent, Oijano Taro, suddenly enters, rouses him,
and announces the outbreak of Takchira and his brother
in the north.

At this intelligence Yoshi-iye throws off all disguise, and
resumes the appearance of perfect sanity. Giving a signal
upon a flute, which summons his concealed followers, he
prepares to depart for the scene of conflict. An officer
comes to assure him that his supporters are all in readiness.
Arakaica and 0-Yano are filled with surprise and alarm,
notwithstanding his prompt explanations that he retains
the Emperor's full favor, and that his pretended madness,
and his fishing expeditions, were only devices to facilitate
the receipt of secret information. For a moment, his wife
meditates self-destruction in her despair ; but she is finally
reassured, and promises such cooperation as she can afford.
YnH/ii-ii/e again beats the drum, — this time with the hand
of a master, — to collect his men. Numbers of farmers,

I

and even the workmen who had derided him, volunteer to
accompany him, and at the head of a large concourse he
sets forth to visit the Governor of Oini.

SCENE 2. — The house of the Governor, who is discovered
reading, alone. The sound of a drum is heard, and a
servant hurriedly reports that Yoshi-iye is summoning the
people at Arakawa's dwelling. Holding the common helief
that Yoshi-iye is in disgrace, the Governor fears he will join
the insurg«4s, and orders his horse, intending to hasten
and dissuade him. Touinno Sitkekane, who cherishes an
enmity against Yoshi-iye, takes advantage of this opportunity
to call and propose that he shall lead troops to suppress the
supposed movement of the man he hates ; but the Governor
refuses, declaring that he will speak personally with Yoshi-
/>/<", who is, in fact, his nephew.

While they converse, the voice of the person under dis-
cussion is heard, without, saying — " You need not seek me ;
I am here." Advancing upon the scene, he rapidly relates
the circumstances of the northern revolt, proclaims his
purpose of starting immediately to the scene of action, and
requests the Governor to go to Kioto, acquaint the Sovereign
with the facts, and obtain the Imperial sanction for his
enterprise. Tomono Sukekane, however, urges his superior
claim to the chief command, on the ground of his knowledge
of the rebel position, his ability to raise forces, etc.; but the
Governor, after an earnest debate, determines to put his
troops under Yoshi-iye, who is ordered to proceed at once
to the field.

ACT II.

SCENE 1. — Part of a battle-field, at the close of an engage-
ment, lyehara, the younger of the rebel brothers, is seen
fighting with a soldier of Yoshi-iye' s army.

SCENE 2. — The head-quarters of Yoshi-iye t who is dis-
covered surrounded by officers. Oyano Taro and others

i H )

return from the center of the field, arid report that an im-
mediate victory is certain. Tomono Sukekane, together with
the staff generally, counsel a combined attack upon the
enemy's principal stronghold, — the castle of Kanazawa.
Yoshi-i>/e, however, restrains them by a speech of eloquent
remonstrance, saying that as success is already assured, no
further blood should be shed, and the lives of their country-
men must be spared, in spite of past misdeeds. He asserts
his determination to write to Takehira, warning him of the
usclessness of further resistance, and admonishing him to
surrender. The materials for this purpose are brought, as
the scene closes.

SCENE 3. — The interior of Kanazawa Castle, and head-
quarters of Takehira. The rebel leader is alone, bewailing
his disasters. His brother lyehira enters and announces
the latest defeat. Knowing the promptness and decision of
Yoski-iye, Takehira makes preparation to receive the final
attack on the following morning, expecting nothing but
destruction and death. He orders sake for his last repast,
and to demonstrate his fearlessness and reckless spirit,
even in adversity, indulges in a farewell dance before his
companions.

A messenger conies with the letter from the conqueror.
Takehira communicates its contents, but his followers declare
their resolution to hold out to the end. Ho insists, never-
theless, upon giving himself up for execution, hoping thereby
to secure lenient terms for the others.

SCENE 4. — The camp of Yo.?hi-iy<>. The loyal commander,
with his staff, is waiting to receive Takehira and his brother,
who presently are introduced. They offer submission, and
surrender their swords, interceding at the same time for
their retainers, in whose behalf they propose to sacrifice
themselves. Yoshi-iye repeats in words the assurances of
clemency which he had before given in his letter,
saying that the authority he represents is inclined to

generosity, and that peace, with the certainty of future
tranquillity, is all that he has aimed to achieve. This
having been gained, he has now no hostile design against
the supporters of the rebellion, nor even its leaders. All
lives shall be spared, and his hopes shall rest upon the
prospect of mutual friendliness hereafter. The multitude
applauds the humane decree, and the curtain is drawn while
all unite in congratulations to Yoslii-vje for his valor, and
and in praise* for his magnanimity.

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I 10 )

PANTOMIME AND BALLET.

Several Views are Given, Illustrating Scenes in Giuza and
Incidents of the Arrival and Reception of General Grant.

Fifty Actors Engage in a Festival Dance.

Hollinger Corp.
PH8.5