it down over her, greatly to the consternation of the priest. He calls together his fellows and relates a legend which explains why women were not allowed to be present:—
"A man had an only daughter, who formed a union with a Yamabushi [a sort of lay-priest]. When pressed to marry her, he ran away and hid in the bell of the temple. She pursued him, and came to a river which she could not cross. But the fire of her passion was so intense that it changed her into a serpent, in which form she found no difficulty in swimming over. Coming to the temple, the serpent coiled itself round the bell, which was melted by the heat of her passion, the false lover perishing at the same time."
The priest, having told this legend, joins with his colleagues in reciting with might and main all kinds of Buddhist prayers and invocations, by which the bell is raised to its former position, and the dancing-girl forced to reveal herself in her serpent shape. Involved in flames, she plunges into the adjoining river and disappears. Exeunt omnes.
The Kiōgen (mad-words) are to the Nō what farce is to the regular drama. They are performed on the same stage in the intervals between the more serious pieces.
They differ from the Nō in having no chorus, and in being composed in the pure colloquial dialect of the time. They are even shorter, and of the slightest construction. The following is an example:—
"A Daimio sends his servant to the city to buy a talisman which will work miracles. The servant meets with a swindler, who sells him an object which he calls the Mallet of Daikoku (every blow of which is supposed to produce a piece of gold), telling him a charm by repeat-
