sweets, excluding hishimochi. Third platform The third tier holds five male musicians gonin bayashi (?). Each holds a musical instrument except the singer, who holds a fan. Left to right, from viewer's perspective, they are the: 1.Small drum Taiko, seated, 2.Large drum tsuzumi, standing, 3.Hand drum Kotsuzumi, standing, 4.Flute Fue or Yokobue seated, 5.Singer Utaikata, holding a folding fan sensu, seated. Fourth platform Two ministers (daijin) may be displayed on the fourth tier: the Minister of the Right and the Minister of the Left . The Minister of the Right is depicted as a young person, while the Minister of the Left is much older. Also, because the dolls are placed in positions relative to each other, the Minister of the Right will be on the viewer's left and the Minister of the Left will be on the viewer's right. Both are sometimes equipped with bows and arrows.
been given a roman equivalent, and when Yardley had his typists compile frequency tables for the twenty-five plain-language kata kana telegrams he had, he discovered that this script obeyed rules of frequency just like any other. Specifically, the kana n, the only nonsyllabic kana, was most common, appearing often at the end of words, followed by i, no, o, ni, shi, wa, ru, and to, in that order. The list of most common syllables and words began with ari and continued with aritashi, daijin, denpoo, gai, gyoo, and so on. At the end of about four months, the typists had prepared elaborate I statistics ot frequency and contact for about 10,000 kana. He then set them to work dividing the ten-letter groups of the Japanese code telegrams into pairs of letters and drawing up similar frequency and contact data for these pairs. He himself went through the approximately 100 code telegrams underlining with colored pencils all repetitions of four letters or more
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