they had better remain where they are. The Japanese seem to like their theatre as it is, and therefore they will not be apt to change in a hurry. "Just after the curtain was pulled away, they opened a door in the middle of the garden, and the actors who were to be in the play came in. They sat down on the stage and began a song, which they kept up for ten or fifteen minutes, ea

it, or they
Collect from /


ch of them singing a part that was evidently prepared for himself alone. The music in the little boxes joined them, and it made me think of the negro minstrels in a concert hall at home, where t



hey all come on together. After they finished this part of the performance, there was a pantomime by a woman, or rather by a man disguised as a woman, as all the acting is done by men. They get

stop h


themselves up perfectly, as they have very little beards, and they can imitate the voice and movements of a woman, so that nobody can tell the difference. I couldn't tell what the pantomime was



it. Some of th

all about, and it was so long that I got tired of it before they were through, and wondered when they would come on with something else. SCENE FROM A JAPANESE COMEDY.--WRITING A LETTER OF DI

em admit t

VORCE. SCENE FROM A JAPANESE COMEDY.—WRITING A LETTER OF DIVORCE. "Then the real acting of the piece began, and I wished ever so much that it had been in English, so that I could understand

hat it would

it. The story was a supernatural one, and there were badgers and foxes in it, and they had a woman changed to a badger, and the badger to a woman again. Gentlemen who are familiar with Japanese


theatres say there are many of these stories, like our Little Red Riding-hood, and other fairy tales, acted on the stage, and that the play we saw is one of the most popular, and is called 'Bumbuku Chagama,' or 'The Bubbling Teapot.' One gentleman has shown me a translation of it

be better to ha

riest, who was fond

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