When young, Danjuro the second thought, the yakusha should wear his head covered, and in middle age that he should ride in a kago, the basket conveyance hung on two poles and carried on the shoulders of bearers. And this must not be regarded as extravagance, but to make a good impression upon theatre-goers and therefore a duty to the theatre proprietor, for he considered it of the greatest importance for a yakusha to be magnificent in order to fill an eminent position.
Contrary to Danjuro’s opinion, Sawamura Sojuro, the first, believed in the simple life for an actor. He said a chief actor should mingle with the people in the streets, and aim to be unpretentious, for a yakusha would thereby be able to learn of his defects upon the stage. As for clothing, it was quite sufficient to have one kimono for each season. It was, however, natural to wish to dress well, but it often proved ruinous. It was best for the yakusha to leave his name to posterity as a stage celebrity rather than as a millionaire, to be remembered for his art rather than for his money.
Kataoka Nizaemon, the first, of Osaka, declared that actors should be conversant with poetry and literature, and know all subjects relating to Buddhism and Shintoism, information that would be of use to them on the stage.
When Ichikawa Danjuro, the second, built a fine new residence after his dwelling had been burned down, he gave a house-warming party, and a hundred short poems were written by the guests who attended. In the tokonoma, or recess of the reception-room, was hung an autographed poem by Kikaku, a well-known versifier. On the sliding doors were pictures by artists of the Tosa School. The small metal pieces inserted into the doors were of the best workmanship. There was a painting of chrysanthemums done especially for Danjuro by the master of flowers, Korin, and a flower vase after a design by Basho.
He counted among his friends many of the intellectuals of his day, and upon one occasion he was seen out for a walk between Hanabusa Icho, the painter, and Kikaku, the poet, the two outstanding geniuses of the age.
His name was known at the Shogun’s Court, for there is a mention in the diary of a daimyo, Matsura Sezan, that one day the Shogun, Tokugawa Yoshimune, passed through the ward of Honjo, and the route took him near a shrine where he noticed a votive offering on which was written a poem, signed Hakuin, Danjuro’s poetry name. Appreciating the literary talent the poem revealed, the Shogun turned to his retinue and asked who had composed it, but as none of them knew, he explained that it was the nom de plume of Ichikawa Danjuro.
Matsumoto Koshiro in the rôle of an otokodate, or chivalrous commoner, ready to defend the oppressed lower classes from the blustering two-sworded samurai.
Nakamura Nakazo has left mention in his journal concerning a visit he made to a member of the Choshu clan, to the effect that he had been invited by a retired personage to his residence, made of hinoki wood, meaning a mansion such as was erected for the aristocracy, and that he was entertained with tea and asked to dance. The appreciative host not only gave each one of the party a gift, but after his return to his domain in Choshu he sent Nakazo a suzuri, or box for holding the Japanese writing brush and ink stone.
Retired persons of the upper class were considered privileged to enjoy life as they pleased, and they often went to the theatre incognito. After the performance they invited the actors to the chaya, and gave them gifts.