which is couched in colloquial Japanese of the same period as the lyrical dramas themselves—that is, from the fourteenth to the sixteenth century.
The most important, if not the most interesting, item in the programme was a little historic play in two scenes, entitled "Funa Benkei," or "Benkei at Sea." No figure in Japanese annals is so popular as Benkei, the devil youth (Oniwaka), credited with eight feet of stature, unless it be Yoshitsune, the valiant boy, who vanquished the giant in single combat on Gojō Bridge in Kyōto, and thus acquired a loyal and invincible henchman. The numberless adventures in which Benkei by strength or cunning ensures the success of Yoshitsune have been utilised again and again by painters and playwrights. Unfortunately, the fruits of victory are always snatched from Yoshitsune's grasp by the jealous despotism of his elder brother, Yoritomo, the terrible chief of the Minamoto faction. When the play opens he is discovered with a handful of faithful followers at Omono-no-ura, whither he has fled to escape the machinations of his brother; but further progress is delayed by the arrival of Shizuka, a beautiful geisha, who entreats permission to bid him farewell. Benkei refuses to allow this, and asserts that his master wishes her to return at once to Kamakura, the capital, without an audience. But the girl will not believe that her lover has sent so harsh a message, and insists on dancing once more before him. Shizuka's dance is very elaborate and beautiful, though a little tedious for the European, who has not been trained to appreciate the symbolic import of woven measure and waving arm. At the outset a tall golden head-dress, in shape like an elongated Phrygian cap, is carefully placed on her head. In
