This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.orgTitle: Sketches of Japanese Manners and Customs Author: J. M. W. Silver Release Date: July 29, 2004 [eBook #13051] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK SKETCHES OF JAPANESE MANNERS AND CUSTOMS***
FESTIVAL IN HONOUR OF THE BIRTH OF CHILDREN
MERCHANTS' GREAT FESTIVAL
![Mother and Child.[From Photograph.]](http://www.gutenberg.org/files/13051/13051-h/images/image055.jpg)
Mother and Child.[From Photograph.]
The whole populace on these occasions seem determined to
enjoy themselves; the air of good-natured contentment, which
characterises them at all times, taking a more exuberant tone
as they stroll about the streets, visit in family parties, or
make excursions to the neighbouring tea-houses. Thoroughly
domestic in their tastes and habits, it is a pleasing sight to
watch the family groups. Here a grand-dame is carefully
assisted along by her son and daughter-in-law, preceded by
chattering grandchildren in the gayest of dresses, tugging at
extraordinary kites; or a father, in the doorway of his house,
nurses one child, while the mother exhibits for the admiration
of sympathizing friends another infant—probably one of
the unconscious objects of all this rejoicing.
Though the men frequently exceed the bounds of sobriety on
these [pg 4] festivals and holidays, they
rarely become quarrelsome. It is, however, by no means
unusual for them to keep in a state of intoxication for
days; alleging this, with perfect sang froid, as an
excuse for any neglected promise or unfinished job.
The 'Omatsurie,' or 'Merchants' Great Festival,' which is
only celebrated in the principal towns, takes place about the
middle of July, and may be considered to be an exhibition of
the different trades, as the merchants and craftsmen of the
country show the choicest specimens of their wares and
handicraft in a kind of trades' procession. Like all the rest
of their festivals it has a religious signification, the people
believing that misfortunes in business are warded off by it.
Upwards of five hundred trade trophies figure in one of these
processions, the imposing nature of which may be imagined from
the gorgeous materials and fantastic dresses depicted in the
illustration. The car in the foreground bears the trophy of the
wax-figure makers, whose trade is one of the most lucrative in
Japan, as the Japanese not only perpetuate their celebrities by
wax-work effigies, but the majority of the people, being
professors of the Sintoo religion, have Lares and Penates of
the same material, called 'Kamis,' which are supposed to
intercede on their behalf with the Supreme Being. And this is
in addition to regular wax-work exhibitions, which are very
popular, and the sale of toys which are hawked about the
country by travelling dealers.
OTINTA LAMA
![Travelling Merchant [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image056.jpg)
Travelling Merchant [Native Drawing.]
The merchants have a general right of entrée
to all parts of the town on these occasions. In the
illustration, the procession is passing through the official
quarter of Yeddo, the Tycoon's palace forming the subject of
the [pg 5] background. They halt from time
to time in their progress, which is enlivened by songs
descriptive of their various callings, and the beating of
huge drums, and blowing of strange discordant instruments.
There is a kind of analogy between our industrial
exhibitions and these festivals; and, whatever the purpose
may be for which they were originated, it is plain that they
admirably represent the industry, wealth, and resources of
the country.
'Otinta Sama' is a comical divinity, who is laughed at by
some, and believed by others to inhabit certain miniature
temples, which are crowned with cocks with outspread wings, as
that bird is supposed to be his favourite incarnation. On
holidays and festivals, his temples are frequently carried
about on the shoulders of his votaries, who are generally the
most ignorant and superstitious of the people. This is always a
subject of merriment with the unbelievers, who crowd round the
temples and oppose their progress, and indulge in witticisms at
the expense of the divinity and his bearers. This sometimes
leads to a disturbance, but only when the parties concerned
have been indulging too freely in their favourite saki.
![Saki-drunk. [Native drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image003.jpg)
Saki-drunk. [Native drawing.]
The intercession of Otinta Sama is principally sought in
times of drought or of heavy rains; the temple in the one case
being brought out and exposed to the sun, and in the other
sprinkled with water, by way of intimating the immediate
necessity for his good
offices.
[pg 6]
A FIRE BRIGADE ON ITS WAY TO A FIRE
Fires occur frequently, notwithstanding the great
precautions which are taken for their prevention. Town and
country are divided into districts, for which certain of the
inhabitants are responsible. Each of these has its alarum, with
observatory and regular watchers; while every
[pg 7] guard-house is provided with a
supply of ladders, buckets, and other necessary implements.
Whenever a gale is coming on, the 'Yoshongyee and Kanabo,'
or 'watch and fire look-outs,' who on ordinary occasions
only go their rounds by night, parade the towns with rattles
and clanking iron instruments, as a warning to the people to
keep their fires low.
They have numerous fire-brigades, which are well organized,
and remarkably efficient. In the illustration one of them is
seen hurrying along the street to the place of action. On the
right, a watchman is striking an alarum, and another may be
noticed, half-way up an observatory in the distance, pointing
out the direction of the fire. The white building on the other
side of the street is a fire-proof storehouse, in which the
public documents and valuables of the district are deposited
whenever a fire breaks out in it.
![Yoshongyee and Kanabo. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image005.jpg)
Yoshongyee and Kanabo. [Native Drawing.]
A Japanese 'Shecase,' or fire-brigade, passing silently
along the streets, lighted by its weird red-and-black
distinguishing lanterns, is a strange sight. Some of its
members wear armour, with helmets and black-lacquered iron
visors, and carry 'martoe,' or 'fire-charms,' and various
necessary implements; others are clad in head-and-shoulder
pieces and gauntlets of light chain-armour, to protect them
while pulling down and unroofing houses, which is their
especial duty. All have a regular fire costume, from the 'Oki
Yaconin,' or 'head man,' to the bare-legged coolie, who carries
the badge of the brigade in large red characters on his back.
On arriving at a fire, a point de tête is
selected—generally a house, on the roof of which the
fire-charms are immediately fixed, as if to forbid its further
advance. These charms (the circular white objects with black
mouldings) have, of course, as little effect on one element as
Canute's [pg 8] celebrated command had on
another; but the people put such faith in their virtue that
their presence is a powerful auxiliary in prescribing the
limits of fires, which are rarely allowed to pass the bounds
marked out by them. The firemen fight with the flames as
they close on the charms, like men determined to stand by
their colours to the last, rushing into the burning houses,
pulling them down, and drenching the blazing thatch, with
great courage and endurance. When, by thus putting their
shoulder to the wheel, the fire is fairly subdued, they turn
round and point exultingly to the martoe as the Hercules
that has procured the result. On one occasion, at a fire in
the village of Omura, adjoining Yokahama, the charms and
their supporters were actually licked by the flames from the
house opposite to that on which they were fixed, whose
thatched roof was pulled off while in a state of rampant
ignition by fire-coolies, who with bare hands, and no other
protection than their saturated clothing, fought with the
actual fire. One plucky fellow fell through the roof while
thus employed, and, as the spectators still shuddered at his
anticipated fate, rushed out apparently uninjured, and,
re-ascending, resumed his fiery task with unabated vigour.
Although the fire-charms were triumphant on this occasion,
they did not escape unscorched, and several engines had to
be kept in constant play upon them and their supporters, to
prevent the one from ignition, and the other from being
baked in their armour like crabs in their shells.
The engines in present use are made of wood, and, though
simple, are efficient in damping the roofs of houses (which,
being tiled with thin squares of wood, are very inflammable),
putting out embers, and playing upon the firemen, who, as
already indicated, prefer being stewed to being roasted. The
Japanese, however, are thoroughly aware of the superiority of
our engines, which will probably soon take the place of their
own, as the people are singularly quick in availing themselves
of anything useful.
The townspeople generally calculate on being burnt out once
in every seven years, and whenever this calamity falls upon
them, no time is lost in rebuilding. For instance, in December,
1864, a fragment of blazing wood,
[pg 9] from a fire which destroyed the
United Service Club at Yokohama, was blown across to the
village of Omura before alluded to, which was half burnt
down, greatly endangering the General Small-Pox Hospital and
the huts of the Royal Marine Battalion in its rear. But
early next morning, while the embers of the old houses were
still smoking, new ones were in course of erection, and
before night some of the industrious occupants were fairly
roofed in afresh.2
[pg 10]
A JAPANESE WEDDING
The relative position of father and son is very striking.
From an early age the latter enjoys the entire confidence of
the former, who not only treats him as a grown-up person, but
frequently refers disputed matters to his arbitration,
invariably abiding by his decision. Again, on a son's arriving
at manhood, the parents often resign their property in his
favour, relying on him, with a confidence rarely misplaced, for
maintenance during the remainder of their lives; and so sacred
is this trust considered, that in case of the son's demise it
devolves indisputably on his wife and children. So far, what
could be more promising? But, alas! like everything else,
Japanese life has a dark side, and in this case it consists of
a repulsive custom, [pg 11] which permits indigent
parents to sell their daughters for a term of years into a
state of bondage, for purposes of the most degrading nature.
This possibility more than counterbalances all the brighter
features of their domestic economy. Generally speaking, when
young girls find themselves a burden to their parents, they
seek employment in the tea-houses, where they are well
looked after and instructed in various accomplishments, for
which they serve a certain apprenticeship, and at its
expiration generally marry, as girls so educated are eagerly
sought after.
There are two forms of marriage, either of which is legally
binding. One is a religious, and the other a civil contract,
not very dissimilar from our marriage by the registrar, saving
that the bride's parents sign for her. Whichever form is used,
the parents receive a sum of money from the bridegroom; but in
neither case is the husband supposed to see the face of his
bride until all due formalities have been performed. The
religious ceremony takes place in a temple: the pair, after
listening to a lengthy harangue from one of the attendant
priests, approach the altar, where large tapers are presented
to them; the bride, instructed by the priest, lights her taper
at the sacred censer on the altar, and the bridegroom, igniting
his from hers, allows the two flames to combine, and burn
steadily together, thus symbolizing the perfect unity of the
marriage state; and this completes the ceremonial.
The illustration represents the private ratification of the
civil contract, which is a simple form, by which the parties
take upon themselves the respective duties of husband and wife.
The veiled figure in white is the 'hanna-yomie,' or 'bride,' in
the act of acknowledging the 'hanna-moko,' or 'bridegroom' (who
sits opposite to her in an official dress), by partaking of the
nuptial saki. This 'saki,' or 'wine,' is prepared by two
intimate female friends of the bride, who first pour it into
the gold and silver lacquer vessels on the stand, which
respectively represent the husband and wife, and then, taking
the vessels in hand, mix the contents in a cup, and deliver it
to the 'shewarin,' or 'master of the ceremonies,' who hands it
to the bride, and [pg 12] then to the bridegroom, and
both partake of the contents, which act constitutes the
marriage.
![A Dose of Moxa. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image007.jpg)
A Dose of Moxa. [Native Drawing.]
Although young ladies are employed to mix the nuptial saki
they do not attend on the bride. Such offices as are required
are performed by a married couple, the shewarin and his wife.
It is they who make the necessary arrangements, and provide the
pheasants that appear in the recess; which signify that the
hanna-moko, like the cock-pheasant, will always jealously guard
his charmer, who, like the shy hen-bird, will readily respond
to the call of her mate.
A more practical idea of the requirements of married life
may be deduced from the annexed woodcut, representing the
application of moxa, which is very commonly used as a remedy
for rheumatism, and to promote circulation.
Japanese women make excellent wives: they are never idle in
their houses; and when other occupations fail them, the
spinning-wheel, or loom, is brought out, and materials for
clothing their families are prepared. In the country, the women
share equally with their husbands and children in agricultural
labours; early and late whole families may be seen in the
paddy-fields transplanting rice, or superintending its
irrigation, for which the undulating nature of the country
affords great facility.
![Transplanting Rice. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image008.jpg)
Transplanting Rice. [Native Drawing.]
Notwithstanding the laborious nature of their tasks they
have always a cheerful greeting for the passer-by, even under
extremely irritating [pg 13] circumstances, as they are
greatly plagued by leeches, which swarm in the
paddy-fields.
The result of the constant attention paid to the cultivation
of the soil is astonishing. Our farmers would gaze with
surprise on the luxuriant crops of cereals, roots, and
vegetables; and this is solely owing to the care taken in
preparing the soil, which is not naturally productive. Weeds
are never to be met with in the fields, which, however, from
the constant manuring bestowed upon them, lack the sweet fresh
smell of our own.
With regard to education, it is rare to meet with a Japanese
who cannot read, write, and cipher; and in buying and selling
they use computing slides like the Chinese, by the aid of which
they quickly settle the amount to be paid. They do not, except
in the higher classes, receive what we understand by a general
or scientific education, the members of each trade or
profession being only instructed in what pertains to their own
affairs—a fact the inquiring stranger soon
discovers.
[pg 14]
A DAIMIO PAYING A STATE VISIT
The Tycoon only leaves Yeddo when affairs of state require
his presence elsewhere. His palace is situated in the heart of
the city, and is surrounded by grounds several miles in
circumference, and enclosed by a deep moat. It is there that he
receives the compulsory visits of the grandees of the empire,
one of whom, on the point of being ushered into the
audience-chamber, is [pg 15] shown opposite, in his robes
of ceremony, and attended by a sword-bearer, in token of his
high rank. The bonze, or priest, who precedes him, does not
impart any religious signification to the visit, as priests
commonly act in the double capacity of spy and master of the
ceremonies. The screen, which forms the background of the
illustration is worthy of attention, as its subject is taken
from the Japanese mythology, and represents the great
sun-god from whom Ten-zio-dai-zin, the patron goddess of the
empire, sprang.
In public, these oligarchical princes are invariably
surrounded by all the pomp of feudal state, and when they
travel are escorted by large bodies of retainers. At Kanagawa,
which adjoins the settlement of Yokohama, the foreigner has
frequent opportunities of witnessing their processions as they
pass to and fro along the 'tokaido,' or 'great public road,'
when they are going on their compulsory visits to Yeddo from
their own country palaces. Nor is much danger attached to this,
as the passing of Daimios whom it would be dangerous to meet on
the tokaido, is always notified by the authorities to the
consul. On witnessing a Daimio's procession for the first time,
it is hard to realise that it is not a scene from some gorgeous
pantomime, ao brilliant and varied are the costumes of the
retainers, and so totally different is it from anything which
European eyes are accustomed to gaze upon. But should anything
excite the risible faculties of the observer, his
hallucinations are likely to be quickly scattered by the scowls
of the resolute-looking fellows passing by with 'hand on
sword,' needing but little encouragement to 'set a glory' to
it, 'by giving it the worship of revenge,' as they are
extremely jealous of the honour of their prince, and regard the
presence of foreigners on the tokaido at such times as an
insult. This circumstance is also rendered more galling by
foreigners sitting coolly on their horses by the road-side as
the great man passes, generally in a low norimon, on which they
must necessarily look down—in contradiction to Japanese
etiquette, which permits no inferior to look down upon a
superior—while the people of the country are either
abjectly kowtowing to him or patiently waiting in their closed
houses until his passing shall set them once more at
liberty.
[pg 16]
A review given the by two ministers for foreign affairs to
Sir Rutherford Alcock, shortly before his departure, was a very
imposing spectacle. The approach of the ministers was announced
by the beating of drums (which are sometimes carried on the
shoulder and struck by the palm of the hand) and the blowing of
conch-shells, each instrument being sounded three times in
succession, at short intervals. Men in armour carrying banners,
bearing the Tycoon's crest, headed the procession. They were
followed by a large drum in a square case, carried by two men,
and the conch-blowers; then came a number of spearmen in
armour; officers on horseback immediately preceding the
ministers. On arriving at the ground they dismounted, and were
received by Sir Rutherford Alcock, the remainder of their
retinue passing on and forming in rear of the others, to the
left of the English garrison, consisting of the second
battalion of the 20th Regiment, the Royal Marine battalion, and
detachments of Royal Artillery, of the 67th Regiment, and
Beloochees, who were drawn up in brigade in honour of the
occasion. At the request of the ministers the garrison marched
past and performed a few manoeuvres, concluding with
discharging blank cartridge in squares and in skirmishing
order. The rapidity of the fire appeared to make a great
impression on them. This over, the Japanese performance
commenced; which was a representation of their ancient order of
battle, the retainers dividing and forming in lines opposite
one another, and about one hundred yards apart. The proceedings
were conducted by two marshals on foot; they began by forming
the spearmen in line, with emphatic guttural commands, stamping
of the feet, and flourishing of gilt batons, to the end of
which wisps of paper were attached. All were habited in
magnificent armour: some wore complete suits of mail; others
chain armour, lined with gorgeous silks. Broad lacquered hats
were here and there substituted for helmets; or both were
dispensed with, and the temples of the combatants bound with
linen cloth, which is their usual headdress in action.
Presently a signal was given, on which the opposing lines
commenced simultaneously to 'mark line double.' At a second
signal they faced into Indian file, and the marshals, placing
themselves at their head,
[pg 17] led them off at a swinging
trot, the whole party flinging up their heels like boys
playing at 'follow my leader,' until startling guttural
shouts from the marshals caused the glittering lines to halt
and face each other. The horsemen, who had hitherto taken no
part in the pageant, were now stationed in rear of the
centre of the respective lines, and added greatly to the
effect by their crested helmets, their richly gilt armour,
and the heraldic banners, which were attached to the back of
the cuirass and floated about two feet over their heads. As
soon as the horsemen were stationed the exciting part of the
sham-fight began, by the lines being wheeled backwards and
forwards in wings from the centre, and into zigzag
formations from central points, with a slow 'stamp-and-go'
march, the spears being flourished with each motion and
pointed high and low, and right and left, as in our bayonet
exercise. The marshals regulated the movements of their
respective lines with great accuracy, the one being retired
directly the other advanced, so that the relative distance
was never altered. After a time both parties suddenly
assumed a sitting posture and exchanged howls of defiance,
which grew fiercer and fiercer, until a simultaneous rush,
as if to engage, finished the performance from which the
representatives of barbaric warfare retired amid the hearty
cheers of the representatives of the bayonet and rifle.
![A Daimio Retainer. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image010.jpg)
A Daimio Retainer. [Native Drawing.]
Though most of the Daimios have enormous revenues, and are
surrounded by men devotedly attached to them, the policy of the
country so trammels their actions with formalities and
espionage as to keep them in considerable subjection to the
Tycoon; nor is even the privacy of their houses respected,
[pg 18] for their families are
retained in Yeddo, as hostages for their good behaviour,
while they are absent in their principalities. As an
occasional relaxation from the cares attendant on their high
position, they avail themselves of a privilege called
'naiboen,' which enables them to share incognito in the
pleasures and amusements of their countrymen. Those drawings
and coloured representations of scenes connected with the
higher classes which so largely engross the attention of
Japanese artists, generally depict naiboen intrigues and
adventures: these convey, however, a very exaggerated idea
of the manner in which the Daimios conduct themselves on
these occasions.
![Coolies carrying Norimon. [From Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image011.jpg)
Coolies carrying Norimon. [From Native Drawing.]
The family in the house-boat witnessing a pyrotechnic
display in the bay of Yeddo, may be regarded as a faithful
representation of a Daimio's party enjoying the naiboen. The
great man in his light summer robe has apparently cast aside
the cares of office, and seems thoroughly to enjoy the cool
evening breeze and the society of his wives, only one of whom
has a legal claim to that title, by right of which she takes
precedence of the others. Of the two bonzes, or priests, in the
stem of the boat, one, probably, is a member of the family, and
the other its spy, for even naiboen excursions are not exempted
from espionage: indeed the Japanese are so habituated to this
custom that they generally regard it as a necessary check upon
themselves. Naiboen excursions to the tea-houses are very
frequent, notice being sent previously in order to insure
proper accommodation and privacy: the latter precaution being
principally taken on account of the ladies of the family, who
never go beyond the palace except in a norimon guarded by armed
retainers.
A DAIMIO AND FAMILY WITNESSING FIREWORKS
In their homes, the aristocracy are as simple in their
habits as the rest of [pg 19] the people. They are much
given to study, the favourite subjects being
poetry,3
history, astronomy, and logic. The children are usually
taught the rudiments of education by their mothers, and as
they advance in years, are either privately instructed by
masters or sent to the great schools at Miako, which are
said to be attended by upwards of four thousand
scholars.
[pg 20]
A MINISTER OF THE MIKADO ON A RELIGIOUS EXPEDITION
Whenever this great personage wishes to take an airing, he
is carried by fourteen men in a large norimon with latticed
windows, through which he is able to see without being seen;
and even when granting an audience he is said to be concealed
from view by bamboo screen-work. His court consists of the
members of his own family and certain great officers of State
appointed [pg 21] by the Tycoon, who nominally
receive and promulgate his commands; but, in ordinary times,
he has no real power in the temporal affairs of the empire,
and only refuses to confer legality on the acts of his
lieutenant under the pressure of intrigue, or of undue
family influence.
To relieve the wearisome monotony of his life, as well as to
prevent the possibility of the sacred race becoming extinct, he
is allowed twelve wives, who are chosen from the most beautiful
daughters of the chief princes of the empire. These ladies
occupy separate palaces in the immediate vicinity of his, where
they are attended by their own retainers; but only one of them
enjoys the rank of empress, although they are all treated with
the deference due to royalty. He is also said to have an
unlimited number of concubines, who reside within the bounds of
the Imperial establishment.
The distinctive mark of the members of the Mikado's court
and of the ladies of his family consists of two black patches
placed on the forehead, and in the arrangement of the hair,
which is gathered up in a long cue and curved over the head by
one sex, and worn dishevelled and without any kind of ornament
by the other. Though the Mikado has little influence in the
secular affairs of state, his authority in religious questions
is supreme; but it is doubtful if he personally takes any part
in the solemnities which are constantly occurring at Miako.
The subject of illustration represents one of these sacred
observances: the procession is coming from the Mikado's palace,
which, properly speaking, is a temple, being full of idols and
effigies of the 'Kamis,' or 'canonised saints.' The principal
figure is the third minister of state, and from this
circumstance the white dresses worn by the 'Kargardhee,' or
'fire-bearers,' and the presence of some of the Imperial
children, it is probably a midnight pilgrimage to some
neighbouring shrine, in honour of the manes of a departed
member of the family.
The early education of the Mikado's children is entrusted to
the ladies of the court: the sons, while still young, are sent
to different religious fraternities; and the daughters, on
attaining a suitable age, are bestowed in
[pg 22] marriage on the nobles of the
country, except the eldest, who is appointed chief priestess
of the temple of the Sun at Issie, which contains the shrine
of Ten-zio-dai-zin, to which all Japanese are supposed to
make a pilgrimage once in their lifetime.
![A Begging Criminal. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image016.jpg)
A Begging Criminal. (Native Drawing.)
The Mikado is said to spend the greatest portion of his time
in the society of his wives, who contribute to his amusement by
singing, dancing, and theatrical entertainments. The latter
sometimes take place in the open air, as in the scene depicted
opposite; on which the 'Grand Interior' and a select party are
supposed to be looking down through the jalousies of the
palace. The vocal, instrumental, and theatrical talents of the
performers, are here called into play, the arena for the latter
being the 'Mekoshee,' or movable stage, in which a female
figure may be noticed declaiming her part. The long-handled,
fantastically-coloured umbrellas, belong to the Imperial
attendants taking part in the theatricals, whose hair, it will
be noticed, is arranged according to court etiquette.
The men whose features are concealed by their broad hats are
'Ninsokee,' or 'public singers.' Generally speaking they belong
to the aristocratic class, and are reduced to earn their
livelihood in this manner in consequence of some misdemeanour,
on account of which their property has been forfeited to the
state. Their occupation is in itself a punishment, as Japanese
gentlemen never sing, regarding that accomplishment as
derogatory to their dignity. A certain class of criminals also
wear a disguise of this nature, as shown in the woodcut.
THEATRICAL PERFORMANCE IN FRONT OF THE MIKADO'S
PALACE
LADIES OF THE MIKADO'S COURT PERFORMING THE BUTTERFLY
DANCE
[pg 23]
The band here represented is much stronger than those that
generally figure in Japanese orchestral and theatrical
entertainments. Music is not used, as with us, to fill the
interval between the pieces, but accompanies the performers
throughout; the louder instruments being energetically struck
as the singing becomes impassioned or the actors
declamatory.
Lady waiting on the Mikado. (from Photograph.)
The butterfly dance is another specimen of the amusements
with which the ladies of the Mikado's court while away their
monotonous existence. As here shown, it is a private
performance, of which the Empress and her principal attendants
are the only spectators. The insects are personated by two of
her ladies, who mimic their motions and sing praises of the
different flowers they pretend to alight upon, to the
accompaniment of a band of fair musicians. But the most
interesting part of the affair is a spirited dialogue, in which
they cleverly criticise, under floral appellations, the
different ladies of the court, in a manner equally gratifying
and flattering to their royal mistress.
The Mikado is always waited upon by the ladies of his court,
and is said never to eat twice from the same vessels, which are
broken to pieces as they are removed. An intelligent yaconin,
however, on being questioned about this point, was much amused;
and, though he professed ignorance of the subject, was
evidently very sceptical on the matter of the
dishes.
[pg 24]
THE TYCOON'S MESSENGERS READING THE SENTENCE
The Tycoon's messengers then read the imperial mandate,
which proclaims that, in accordance with the ancient custom of
the country, the Daimio is permitted honourably to sacrifice
himself for its benefit, and thus to expiate in his own person
the crime or offence he has committed against the welfare of
the state. In the illustration, the two officials charged with
this disagreeable office are sitting opposite the Daimio and
his friends, reading the fatal document, their suite
surrounding them in respectful attitudes.
The whole party wear the official dress, which intimates at
once the respect due to the victim and the official nature of
the ceremony.
THE SACRIFICE
The second scene shows the Daimio on the point of performing
the sacrificial ceremony. His forelock is reversed, as a sign
of submission to his fate, and to assist the executioner, who,
as soon as his master goes through the form of disembowelling
himself with the knife on the stand, will, with one blow of his
razor-edged sword, complete the sacrifice by decapitation. Only
the two chief commissioners appointed by the Tycoon, and the
sorely-tasked supporters of the victim, remain to witness the
last act of the drama. The rest of the party await its
completion in the adjoining compartment of the enclosure, which
is expressly constructed for that purpose.
The funeral procession, which is the subject of the next
scene, is accompanied by all the pomp indicative of the high
position of the deceased. The mourners wear robes of white
cloth, and all the feudal paraphernalia are draped with the
same material; which, as before mentioned, is used in Japanese
mourning. The coffin is carried near the head of the
procession; it is a square box of resinous wood, covered over
with white, and the body is placed in it in a sitting
posture.
A DAIMIO'S FUNERAL
[pg 27]
All the members of the family attend the funeral, either on
foot or in norimons. If the wife and the heir be absent in
Yeddo, they are represented by the nearest relations. In this
instance both are present, from which it may be inferred that
the sacrificial act has taken place in the neighbourhood of
Yeddo.
CREMATION OF THE BODY
Although the Japanese sometimes bury their dead, they
generally practise cremation. Repulsive as this custom is to
European ideas, it must be remembered that the Japanese are not
singular in preferring it, as several of the most civilised
nations of antiquity considered it the most honourable mode of
disposing of the bodies of the dead. While the body is being
reduced to ashes the priests tell their beads and chant prayers
for the soul of the departed, as the followers of almost every
religious sect in Japan believe in a state of purgatory.
The last scene shows the wife and son of the victim of the
'Hara Kiru' collecting his ashes and depositing them in an
earthenware jar. This is afterwards sealed down and conveyed to
the cemetery, or temple, which contains the remains of his
ancestors.
RELATIVES COLLECTING ASHES
Some of the Japanese cemeteries are very extensive; and they
are generally situated in secluded, picturesque spots, in the
neighbourhood of the towns and villages.
The graves are small, round, cemented receptacles; just
large enough to receive the jar containing the ashes. If the
body is buried (which only happens when the deceased is
friendless, or too poor to pay the expenses of cremation), the
head is always placed pointing to the north. The tombstones are
ordinarily about three feet high; and are either square or
circular in shape, resting on square pedestals, in which small
holes are cut to contain rice and water. The supplies of these
are replenished from time to time, generally by the women of
the family, lest the spirit of the deceased should revisit its
grave and imagine itself neglected. Sometimes flowers are
placed before the graves, and flowering sprigs of peach and
plum are stuck in the ground about
them.
[pg 28]
Like the Chinese, the Japanese burn joss-sticks to
propitiate the deities in favour of their departed relatives;
and the neighbourhood of a graveyard may generally he detected
by the peculiar aromatic odour emitted during the burning of
these. For some time after a funeral the relatives daily visit
the tomb and intercede for the dead, holding their hands up in
the attitude of prayer, and rubbing the palms together as they
mutter their monotonous
orisons.
[pg 29]
PUBLIC WRESTLING IN THE GREAT AMPHITHEATRE AT VEDDO
[pg 31]
Before each wrestling-match commences, the 'geogee,' or
'judge,' who superintends it, shouts out the names and exploits
of the contenders, who, after kowtowing very ceremoniously to
one another, rise to the preliminary attitude.
At a signal from the judge the combatants commence. At first
they move cautiously about the centre of the ring, watching a
favourable opportunity to close, which they presently do with
deep guttural exclamations. Then great working of muscle and
tugging and straining follow, the spectators cheering on their
respective favourites, until the fall of the geogee's
fan—which is the moment depicted by the
artist—proclaims the victor.
Thundering plaudits greet the hero of the occasion, who
presently strolls about among the assembled multitude, attended
by his 'coegi,' or 'servant,' who collects the offerings with
which they liberally reward his exertions. When money fails,
articles of clothing are frequently bestowed—and
sometimes too freely, as it is by no means unusual for both
sexes to half denude themselves at these exhibitions; and it is
a favourite joke with the women to send their male friends to
redeem the articles from the wrestler.
Although fencing is a military exercise, it is so commonly
practised by the Japanese 'yaconinierie,' or 'soldiery,' who
comprise a large portion of the population, and is entered into
by them in so spirited a manner, that it deserves to be classed
as an amusement.
Yaconins fencing.
The woodcut is a very faithful representation of yaconins
fencing. The masks cover the whole of the head; and the arms,
breast, and hips, are protected by cuirass, petticoat, &c.
of leather ribbed with bamboo.
The fencing sticks are of the same length as the
'obi-todee-auf-catana,' [pg 32] or 'great fighting-sword.'
They are made of split canes, bound tightly together, and
are used with both hands.
The Japanese fence well, and deliver their points with great
precision, especially an awkward downward thrust at the
breast.
They deliver their cuts and points with fierce guttural
exclamations, which are peculiarly disagreeable to European
ears; especially when the listener is located in the vicinity
of a guard-house, whose occupants notify their employment at
daybreak with such cries as 'Hie-e! Ah-h! Atturah-h!' ('That's
at! that's into you!') and continue this information,
accompanied by the clashing of their sticks, and occasional
chuckles, until late in the afternoon.
The Japanese are great frequenters of the theatres, of the
interior of one of which the illustration is a very good
representation—the exterior is generally very like that
of the temples; and in some, the ground-floor is laid out with
miniature lakes and bridges, the audience looking down on the
performance from lateral and opposite galleries.
INTERIOR OF A THEATRE
The stage is a little smaller than ours, but sometimes has a
promenade through the centre of the theatre, which facilitates
by-play, to which the Japanese attach great importance. The
body of the house is divided into boxes, which are generally
taken by family parties, who bring their provisions with them
and remain all day, as the performances begin about 10 A.M. and
last until late in the evening. Their plays are very tedious,
although enlivened by a good deal of smart
repartée and telling jokes, but the morality even
of the most correct is very questionable. Love, of course, is
the prevailing feature; and the adventures of the principal
heroes contain enough bloodshed and murder to satisfy the most
ardent admirer of sensation dramas. In their hand-to-hand
encounters they cut and slash at one another with naked swords,
which they manage very skilfully, never permitting the blades
to come into contact. The female parts are performed by boys
and young men, who, with the assistance of paint and powder,
make admirable [pg 33] substitutes for women, though
singing and dancing-girls are frequently introduced as
divertissements.
Getting ready to go to the Theatre.
Kite-flying is also a favourite amusement; and old age and
childhood may frequently be seen side-by-side, tugging at
soaring monsters, in the construction of which great ingenuity
is displayed.
The Japanese often play with cards, which are about a
quarter of the size of ours; and they are much given to
gambling, although it is strictly prohibited, and, when
detected, severely punished. But the most popular in-door game
is & sort of combination of draughts and chess, which
frequently engrosses the players for hours at a
time.
[pg 34]
MODE OF CONDUCTING A CRIMINAL TO EXECUTION
The illustration, showing the mode of conducting a criminal
to execution, [pg 35] is an instance of
'thrashemono.' The culprit is bound on a horse, and is
preceded by a placard, borne by his relatives or neighbours,
and indicating his crime. In this manner he is conducted
through the town to the place of execution, where his
sentence is read to him. He is then placed (with his limbs
still bound) over a freshly-dug hole, where he is supported
by his relatives till the executioner's sword performs its
task.
After execution, the heads of malefactors are generally
exposed: that of Simono Sedgi (the lonin who was decapitated in
the presence of the British garrison of Yokohama, for being the
organizer of the assassination of Major Baldwin and Lieutenant
Bird of Her Majesty's 20th Regiment) was exhibited on the
public stand at the guard-house at the entrance of the
town.
This man was a fair specimen of the lonin type, and was a
most determined ruffian, whose whole life had been a career of
crime.
When exposed in the streets of Yokohama the day preceding
his execution, he conducted himself with great bravado,
remarking on the improvements in the town since he last visited
it, and expressing his regret that he had not killed a
consul.
At the place of execution he made an impassioned speech, in
which he declared that he was a gentleman by birth, and had
studied the arts and sciences, and never believed the
government would sacrifice a Japanese for the death of a
foreigner. He said that the days would come when they would
repent the encouragement they were now giving to strangers; and
ended by complimenting the executioner on his well-known
skill.
The lonin differs from the ordinary criminal, and is thus
ably described by the highest authority on Japanese
matters:4—
'As a noble or head of a house is responsible for all who
are of his family, or claim his protection, when any of his
people are resolved upon a desperate enterprise they formally
renounce the protection and declare themselves
"lonins;"—in other words, outlaws, or friendless men:
after [pg 36] which no one is responsible
for their acts, and this is considered a highly honourable
and proper thing to do.
The worst of this system is, that any one harbouring or
assisting a lonin endangers his head; and such men are,
therefore, compelled to resort to robbery and extortion as
means of supporting themselves. It generally happens that this
legalised method of taking the law into their own hands drives
those who avail themselves of it into a series of crimes, and
frequently they become the associates of common thieves.
Of the gang represented in the illustration as robbing a
rich merchant's house, one or two probably are lonins, the rest
being thieves in disguise.
LONINS, OR OUTLAWS, ROBBING A RICH MERCHANT'S HOUSE
The servants, kowtowing before two men, whose naked swords
plainly intimate the consequences of any attempt to give alarm,
or to offer resistance to their demands, have apparently been
collecting all the money in the house and are laying it before
the thieves. The oblong boxes are iron safes, in which the
Japanese keep their money.
From the position of the other members of the gang, it is
evident that they have not got all they require, and are
watching something going on in the interior of the house. They
have probably learnt that the merchant has to forward some
money for the purchase of goods by a certain date, and know
exactly how much to expect.
In the spring of 1865 the Tycoon, in levying a tax on the
Yeddo merchants, congratulated them on the fact that the
portion of the country under his immediate control was exempt
from the depredations of lonins; but notwithstanding this
statement, a robbery of the nature described took place in the
capital immediately after the issue of the Tycoon's manifesto,
and a lonin concerned in it gave as an excuse for his conduct,
that he had learnt that the money was intended for foreigners,
who were settled in the country in opposition to the laws of
Gongen Sama, which had never been revoked.
With such dread are these men regarded by the non-combatant
classes, that it frequently happens that one or two will go
into a village and extort what they require without the
slightest resistance being
offered.
[pg 37]
As a rule, Japanese punishments resemble those inflicted by
the Chinese, and seem to be based on the Mosaic principle of
'an eye for an eye and a tooth for a tooth.' Arson, for
instance, is punished at the stake; and a thief who endeavours
to conceal the results of his robberies by burying them, has
the disadvantages of that mode of concealment impressed upon
him, by being himself embedded for a day or two in the ground,
with only his head out—a mode of instruction that rarely
requires a repetition of the lesson.
Apropos of this punishment is the testimony of an
eye-witness, who, in passing the public execution place at
Yeddo, noticed a head on the ground, which he supposed to have
been recently struck off. He had turned away with a shudder,
when a laugh from the bystanders caused him to look again,
when, to his great astonishment, the head was vigorously
puffing at a pipe which the facetious executioner had a few
moments before been smoking himself.
The last illustration shows a man and woman undergoing
public exposure for adultery—a crime which is rare in
Japan and which is punished with great severity.
EXPOSURE FOR INFIDELITY
With such detestation is it regarded, that, in addition to
all legal cognizance, the husband is permitted, in certain
instances, to avenge himself by taking the lives of the
offenders upon the spot.
The board on the right contains the official intimation of
the crime.
The curious instruments depicted in the woodcut are Japanese
emblems of justice and are to be seen at all the guard-houses;
they are used to catch runaway offenders or to pin a drunken
yaconin against a wall or house, and so facilitate the task of
disarming him without danger to the captors.
Sodingarami, Satsumata, and Squobo.
Although the Japanese use torture to extract information
from obstinate criminals, they employ all necessary caution to
preserve life; and a doctor and responsible officer are always
present when it is employed, as representatives
[pg 38] of the respective claims of
humanity and justice. A singular punishment, to which only
the nobles of the country are liable, is secret banishment
to the island of *Fatzisiu, which is situated on the
northern coast of the empire. It is small and barren, rising
perpendicularly from the sea. The only communication with it
is by means of a basket, which is lowered from an
overhanging tree to the water, a distance of about fifty
feet.5
From this island there is no return, and the unhappy,
incarcerated nobles, are compelled to support themselves by
weaving silks, which are the most beautiful the country
produces. A junk visits the island once a-year, when the
silks are exchanged for
provisions.
[pg 39]
SELLING INDULGENCES BY PUBLIC AUCTION
At a tea-house at Kamakura, one of these charms was
accidentally dropped by a lively little 'moosmie,' or 'girl,'
who was waiting on a party of foreigners. One of them picked it
up, and was on the point of opening the small box in which it
is placed for safety when she discovered the loss, and made a
desperate rush for its recovery. On finding the importance
attached to it, the 'friske,' as she called it, was handed
round the group as she eagerly darted after it; and on one of
the party pretending to light a cigar with it she burst into
tears, and was not to be pacified until it was restored.
A religious observance of great importance with the Japanese
is 'Osurasma,' or 'praying a soul out of purgatory,' as they
wisely consider that even the most holy must have some small
peccadilloes to answer for.
PRAYING A SOUL OUT OF PURGATORY
This ceremony takes place in the seventh month after death:
a white lamp is its emblem. This is hung up at the entrance of
the mourners' houses, while they offer oblations and burn
joss-sticks. Food is also prepared and laid out, in case the
spirit of the departed, finding the journey to the regions of
the 'kamis' a long and wearisome one, should need
refreshment.
No Japanese dreams of entering a friend's house while the
white lamp is hung up, or of disturbing in any way the privacy
of a family engaged in these solemn duties, as the spirits of
the departed are firmly believed to revisit their former
dwellings at such times, if they have not already entered into
a state of bliss.
[pg 41]
In one of their festivals they make pilgrimages at night to
the graves of their friends, on which they place food and hang
lamps. It is said they believe their ancestors to come from
heaven to them on these occasions, and imagine that they return
again in small boats, to which they attach lanterns, and which
they place on the water at ebb-tide, on the evening of the last
day of the festival, and eagerly watch, out of sight. An old
fisherman, however, who was observed intently watching his
frail bark floating out to sea, explained, on being questioned,
that he whose lamp burnt longest caught most fish; and judging
from the old man's solemn manner there was no doubt he had
perfect faith in the truth of his statement.
However gross their superstitions may he, there is no doubt
that they affectionately revere the memory of their dead, and
treat them with quite as much respect as the most civilised
nation in Christendom.
In battle the Japanese always carry off the fallen.
At the bombardment of the Simono-seki forts, at the entrance
of the Suwo-Nada, or 'Inland Sea,' in September 1864, Prince
Choisiu's loss, according to one of his own officers, amounted
to upwards of 500 killed and wounded; but all had been removed
when the brigade of English, French, and Dutch, under the
command of Colonel Suther, C.B., Royal Marines, took possession
of the forts early next day. At the storming of a stockade
(which was pluckily defended) by two battalions of Royal
Marines and the light-armed companies of the British squadron,
the Japanese were noticed carrying away their dead and wounded,
and several were unfortunately shot while thus
employed.6
A few nights afterwards large fires were noticed in the
interior, which were said to be the funeral pyres of those who
had fallen in the defence of the forts and
stockade.
[pg 42]
SUDANGEE, OR LAST OFFICES
The illustration representing the last offices, depicts a
custom of Buddhist origin which is generally adopted by the
Japanese. They believe that shaving the head of the dead
propitiates the deities in their favour. It is also considered
to be an emblem of sanctity, and the bonzes, or priests, always
keep their heads clean-shaved. Even children intended for the
priesthood, as well as certain religious societies of both
sexes, are similarly distinguished. Odder-looking creatures
than these bald-headed specimens of humanity can hardly be
imagined.
The itinerant sweetmeat vendor shown in the woodcut is a
specimen of the class of Japanese most prone to superstition.
The lantern he carries serves not only to light his way but to
advertise his wares: it also bears his name, no Japanese of the
lower orders being allowed to stroll about at night without a
lantern so distinguished.
![Itinerant Sweetmeat Vendor. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image037.jpg)
Itinerant Sweetmeat Vendor. [Native Drawing.]
[pg 43]
![Carpenters at work. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image040.jpg)
Carpenters at work. [Native Drawing.]
Along this beautiful road are constantly passing Daimios and
their hosts of retainers, trains of travellers and pilgrims,
and a large portion of the island traffic of the empire. As the
Tokaido passes through most of the principal towns, the
traveller has frequent opportunities of observing the various
avocations of the people; for mechanics commonly work in front
of their doors, as shown in the woodcut; and in fine weather,
the sliding windows through which the Japanese enter their
houses are always drawn back, leaving the interior and its
occupants open to the road.
A BAKER'S SHOP
With the exception of the Daimios on their state journeys
(who, by the way, have regular halting-places at tea-houses
officially set apart for their use), for the mass of the people
to be seen on the Tokaido belong to the lower classes—the
aristocracy considering it beneath their dignity to travel for
pleasure, or to make
pilgrimages.
[pg 45]
![Tea-house Girl waiting. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image043.jpg)
Tea-house Girl waiting. [Native Drawing.]
Naturally hardy and energetic, the Japanese seem thoroughly
to enjoy travelling, which in fine weather has few drawbacks.
It is true that the peremptory order, 'Chetanerio,' or 'Down
upon your knees,' at the approach of one of their oligarchical
rulers, would be objectionable to Europeans; but the Japanese
are accustomed to this, and proceed with their journey after
half-an-hour's detention without being in any way put out by
it.
The numerous and pleasant tea-houses that skirt the Tokaido
have a great deal to do with rendering travelling popular, A
smiling welcome from the pretty waitresses employed at these
places may always be anticipated by the weary wayfarers; and,
however slight their requirements may be, they are certain to
be promptly and courteously attended to.
If the means of travellers do not permit them to resort to
the tea-houses, there are sheds and stalls at intervals along
the road, where they can obtain fruit or refreshments at a
trifling cost.
Some of the tea-houses in the vicinity of large towns are
much frequented in the spring-time by pleasure-parties, on
account of the beauty of their gardens. The chromo-lithograph
opposite represents one of these parties, some of whom appear
to have been indulging too freely in saki. The fellow dancing
and waving the fan about is apparently addressing a love-song
to the lady opposite, whose husband is evidently desirous of
putting a stop to the flirtation.
A TEA-HOUSE MERRY-MAKING
[pg 46]
UYA, OR BATH-HOUSE
But it is in the common bath-room where this extraordinary
feature of Japanese life unmistakeably presents itself. There
men, women and children, perform their ablutions together, with
all the apparent innocency of our first parents. The
proceedings are conducted with perfect order and good-nature.
The steaming occupants make way for one another with ball-room
politeness; they laugh and chat over their tubs, discuss the
public notices on the walls, or, maybe, saunter occasionally to
the open door or window, to look at something which has
attracted their attention, or to exchange greetings with a
passing friend. All this is done with a freedom that speaks for
itself of their utter unconsciousness of any impropriety in
their conduct.
[pg 48]
Frequently a lady is assisted by her husband in the
cleansing process; and this is not necessarily a matrimonial
compliment, as regular bathing-men are employed for the
convenience of those who require such attention.
The favourite times for bathing are the middle of the day
and the evening; but in the summer the bath-houses are always
full.
![Going home from the Bath-house. [Native Drawing.]](http://www.gutenberg.org/files/13051/13051-h/images/image046.jpg)
Going home from the Bath-house. [Native Drawing.]
The modus operandi is very simple. The bather, after
duly depositing his straw shoes at the door and paying a few
cash for admittance, at once proceeds to disrobe himself,
placing his garments in an allotted compartment. He then
secures a tub, which is filled with lukewarm water, and,
squatting down before it, lathers himself with a vegetable,
soapy material, which is sewn up in a small bag. At this stage
of the proceeding he will probably enter into conversation with
his neighbours, complacently rejoicing in his soapiness until
the remonstrances of the bathing-house man, or of some would-be
possessor of his tub, compel him to finish his ablutions.
It would seem natural to conclude that such a system must
have immoral effects, but the Japanese attribute no evil
consequences to it. They say that, being accustomed to it from
childhood, it only enables them to carry out those habits of
cleanliness which distinguish alike their persons and their
homes.
It is amusing to notice the care taken by the Japanese to
protect themselves from a second bath on returning from the
bath-houses to their homes in rainy weather. The artisan with
the umbrella (which bears his name and direction, by the way)
is an instance of
this.
[pg 49]
A FLOWER SHOW
[pg 51]
The illustration represents a chrysanthemum show. These
flowers are much esteemed by the Japanese, who pay more
attention to size and brilliancy of colour than to perfume. The
stone in the centre is called a 'skakeshe.' On it, poetry in
praise of flowers is inscribed. This is a custom of very
ancient origin, and poetical inscriptions on stones and rocks
are to be often seen in public places. The piece of ornamental
stonework is an 'ishedoro,' or 'stone lamp,' which is very
common in gardens, and is much prized on account of the
historical associations connected with it.
Girl with Flowers.
The Japanese have many floral compliments. A very pretty one
is intimated by a present of seeds (especially if presented to
a foreigner returning to his own country), the purport
being—'Plant these seeds about your home, and, when you
see them growing, think of me.'
As an instance of the influence which flowers have upon the
Japanese character, the word 'hanna,' or flower, is commonly
used as a term of endearment: it is usually applied by parents
to a favourite daughter, or by a lover to his mistress; it is
also used to distinguish the bride and the bridegroom, as
'hanna-yomie,' 'hanna-moko.' Floral love-tokens (although they
only consist of a single sprig) are as much prized among the
Japanese as among ourselves; and are, no doubt, sometimes
"Treasured in their fading,"
as the Japanese are not only poetical, but much given to
sentimental reflections.
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