teenth-century culture. They began, as such societies generally begin, with translations, and by dramatising the romances of the elder Dumas succeeded for a time in attracting. "The Three Musketeers" and "Monte Cristo" were spectacular enough to please. But when it came to producing original work, their will was found to exceed their capacity. Without enough money or experience to make a sustained effort, they kindled a flame which soon flickered out. Mr. Kawakami, as I have already stated, won a great success by dramatising the more striking incidents of the war with China. He visited Port Arthur and supplied himself with photographs of many varieties, so that, at any rate, his play was realistically mounted. How far its structure was in advance of less up-to-date pieces I cannot say. If it at all resembled his adaptation of "Round the World in Eighty Days," I fear it was no more than a series of tableaux. But no production on strictly European lines could command an intelligent, much less a sympathetic, reception from playgoers unacquainted with European life. In the summer of 1898 Mr. Osada, whose models are Parisian, presented his compatriots with a version of "Le monde où l'on s'ennuie." It will be remembered that the climax of that amusing comedy is reached when a young diplomat is discovered kissing his wife in a dark conservatory by the scandalised guests at a French chateau. Now, the Tōkyō tradesman has never kissed anybody, and would not incommode his wife with sentimental attention. He was merely mystified by this queer illustration of barbarian habit, and returned with relief to the contemplation of his politely blood-stained ancestors.
The most promising path of improvement would
