prodigious earnestness of the actors. The part of Shunkwan was played by Mr. Umewaka himself with much pathos, depending entirely on tone, carriage, and gesture, since all facial expression is barred by the strict convention of playing the Nō in masks. While the presentation of spectres and supernatural beings must be facilitated by this custom, since many of the masks are masterpieces of imaginative skill, yet, where the interest is purely human, that illusion at which all drama aims is proportionately diminished.
Now came the children's turn to laugh at the first of the kiōgen, entitled Kitsune Tsuki, "Possession by foxes." Most of the comical interludes deal with rustic stupidity or cunning, and all refer in some way to religious belief or practice. If one may judge by the ubiquity of his images, the fox is the most sacred animal in Japan. No shrines are so numerous as those of Inari, the rice-goddess, and before each stand two white foxes, with snarling lips and teeth clenched on a mysterious golden object, which completely baffled the curiosity of M. Loti, though later writers declare it to be no more than a key, symbolising the portal of wealth unlocked by divine favour. But Inari herself is completely eclipsed in popular awe by her attendant foxes. It is they who, if not propitiated, ruin the rice crop; they who have the power, like the weir-wolf, of assuming human shape and of "possessing" unfortunate beings, whose only chance of delivery lies in exorcism by a priest. In the case of the kiōgen now presented this superstition had been turned to comical use. We learned that Farmer Tanaka had sent two of his men into the fields with rattles to scare away birds, laying on them many injunctions to beware of the dæmonic fox, Kitsune, whose exploits had lately
