I instinctively felt that the right thing to do was to first talk of the kakemono, and Danjuro, seeing my genuine enthusiasm, smiled and said, without a touch of false modesty, "Yes; it is a great masterpiece!" and then he began to tell me about this picture, and I felt at once that this dignified little gentleman was a true artist.
From the picture we drifted to the Drama, and Danjuro was very curious to know something of our work in London, and now and then, as he plied me with pertinent questions, I thought I detected a glimmer of fun behind his inscrutable demeanour. At last the questions rained around me so rapidly, and were so terribly to the point, that I felt thoroughly ashamed and did not know how to answer him. I knew that he was an artist, looking at his work from purely the artistic standpoint, and as an artist I knew that it would be utterly impossible for him to appreciate our Western methods: so I deftly turned the conversation by returning the fire of questions. I had seen Danjuro in one or two scenes in which I was greatly struck with the remarkable changes of his facial expression. There was one scene in which Danjuro faced the audience, and in a minute, by the complete alteration of his face, changed himself into an entirely different man. This feat was really so remarkable that I was anxious to know how it was done, and suggested that it might have been accomplished by a clever make-up. "No, no!" he exclaimed. "It is a rule of mine to use 'make-up' very rarely. For change of expression we actors have to depend much on the muscles of our faces"; and Danjuro, to illustrate this, quickly changed his face until it was totally different, even to the face markings, and I should have defied Sherlock Holmes himself to have known him to be the same man. Then I saw him act the part of a drunken man. I have seen drunken men on the stage over and over again, and there has always been a touch of vulgarity about them; but this drunken man of Danjuro's was an exquisite triumph of art. I was curious to know how he had perfected this rôle, and suggested that it had perhaps been brought about through a careful study of the habits and actions of a drunkard, using him as a model, as it were. But this Danjuro firmly denied. "No, no, never!" he exclaimed. "I might just as well take a drunken man and stick him on the stage, just as he is, as to imitate any one man. That is not art: it is not a creation. I have seen drunken men all my life, and the drunken man I represented was the aggregate of all the drunkenness I have ever seen. Suppose by chance I had come across a drunken man while I was developing the character, I should perhaps have been tempted to follow that particular man too closely, and the result would have been necessarily inartistic." And Danjuro made it quite clear to me that when creating the character of either a drunken man or a madman, he invariably keeps as far away from Nature as possible. He would not proceed as some of our actors do, to hunt about in the slums until he had found a man sufficiently drunk for his purpose, and then copy him exactly; or, yet again, he would not have attempted to imitate a death-bed scene by watching one particular person die. Such a thing would appear to him as a great degradation.