to wait for a Shakespeare, the fifty odd five-act pieces of Chikamatsu were written between 1690 and 1724.
Moreover, they were written for marionettes. This fact explains many surviving customs, which hamper theatrical representation to the present day. Although the thread of poetical narrative, on which spectacular episodes were strung, is much attenuated, the chorus, charged with reciting it to musical accompaniment, is not yet banished from a cage or stage-box behind the footlights to the right of the audience. Many actors retain the stiff, jerky motions of the wire-pulled dolls which they were formerly taught to imitate, and whereas the words through artificial declamation are often difficult to follow, more persistent appeal is made to the eye than the ear by pose and gesture. Why the dramatist should have preferred wooden to human puppets is hard to say, unless it be that they were capable of more amazing contortions, for acrobatic activity plays a large part in legitimate drama, which would seem incomplete without damari, or pantomimic scenes.
Chikamatsu was followed by Takeda Izumo, who reduced the function of the chorus, and thus lessened the opportunity for literary display. In both writers you find sensational plots, surcharged with incident and developed in daring disregard of probability. While the marionettes' theatre at Ōsaka was thus served, the men's theatre at Yedo was provided with pieces of a similar character with regard to substance, though the style was colloquial and the dialogue largely invented by the actors. Since the eighteenth century it may be said without injustice that the kabuki-shibai (popular theatre) has remained stationary. Certain improvements in histrionic and scenic matters have
