wo and Oho-kuni-nushi received the lower third rank and in 859 were promoted to the upper third rank. The Mikado Daigo, on his accession in 898, raised the rank of 340 shrines. In 1076 and 1172 wholesale promotions of deities took place. After this time the custom fell into neglect, owing partly to the circumstance that many of the Gods had reached the highest class and could not be promoted any further. Several of the most important deities were not honoured in this way. The Sun-Goddess and the Food-Goddess were among this number. The same deity might have different ranks in different places. The lowness of the ranks with which the inferior deities were thought to be gratified is rather surprising. It throws a light on the mental attitude of the Japanese towards them. Beings who could be supposed to take pleasure in a D.S.O. or a brevet majority must have seemed to them not very far exalted above humanity.
Kagura.—This word is written with two Chinese characters which mean "God-pleasure." It is a pantomimic dance with music, usually representing some incident of the mythical narrative. Uzume's dance before the cave to which the Sun-Goddess had retired is supposed to be its prototype. Important shrines have a stage and a corps of trained girl-dancers (miko) for the purpose of these representations. Kagura was also performed in the Naishidokoro (the chamber in the Palace where the Regalia were kept), and under Chinese influences became a very solemn function, in which numerous officials were concerned. Many kinds of music, song, and dance are included in this term. It was the parent in the fourteenth century of the No, a sort of religious lyrical drama, and less directly of the modern popular drama.
Some authorities say that the music of the Kagura consisted at first of flutes made by opening holes between the joints of a bamboo, of wooden castanets, and of a stringed instrument made by placing six bows together.
