Part 15
“Within the fortification of screens to the left you can faintly hear a guest whispering to his _yūjo_ that if she loves him he is willing to redeem her and take her away. * * * In front, the guest would appear to be a student, as he is reciting some Chinese poems from the Tōshisen. By and by his _yūjo_ begins to wonder what he is talking about, and asks him: ‘What magical words are you uttering, and what is that _chōmen_ (account-book) you carry with you?’ ‘Alas! what an ignorant woman you are!’ the guest retorts, ‘these are famous Chinese poems which you would do well to remember.’ * * * At the back is a guest who has been deserted by his _yūjo_ and who, finding it impossible to remain passive, is having frequent recourse to yawning and stretching. * * * Somewhere in the room is a gentleman who has been carousing too freely, and although he is so top-heavy that he cannot stand up, he objects to lying down and going to sleep. He is apparently so beautifully boosy that when he struggles hard to arise from his couch his legs give way under him and he sinks back huddled up in a heap. Disappointed, but not discouraged, at his inability to get up, the groggy veteran begins to express his maudlin sentiments in a loud grumbling voice, venting his indignation one moment and laughing at imaginary objects the next. Shortly afterwards he will endeavour to relieve the monotony of existence by starting to sing _Kiyari_ (firemen’s songs) in a shrill falsetto tone with all the force his lungs are capable of, but every now and then breaking down and finishing off with an inarticulate mutter or drunken gurgle.
“All of a sudden the lovely noise ceases, as his companion _yūjo_, fearing that his continued bawling may disturb other guests, tries to gag the singing inebriate, persuades him to lie down quietly and go to sleep, covers him over with the bed clothes, and thus extinguishes him for the balance of the night. * * * Now, one guest, who has been sound asleep under the influence of liquor, suddenly wakes up and starts off to obey the calls of nature, but in the semi-darkness he comes into contact with the wall of screens surrounding him. Then he gropes around in order to find an outlet, but failing, owing to his muddled condition, to discover his geographical position, he commences to angrily demand the reason of his supposed imprisonment and to threaten that if he be not instantly released he will smash everything in the house. No reply being forthcoming, the pot-valiant young man kicks out savagely at the screens around him, knocking them down on the top of those sleeping beauties within and rudely dispersing their pleasant dreams; and then, giving way to a paroxysm of maniacal rage, he makes a furious attack on the remaining screens, throwing them round and down in every direction, thus disclosing some very interesting sights in various parts of the room. This proves too much for the nerves of the other guests, and a general stampede ensues, the whole position being accentuated by the hysterical cries of _yūjo_ and shouts of ‘fire,’ etc.”
From this description it is evident that ordinary houses temporarily transformed into brothels must have been interesting places to visit, especially when crowded with guests, and that many comical and amusing scenes must have been enacted within their walls. It is just because the _kari-taku_ presented so many novel and funny features that persons were tempted to go crowding into them.
Dōchū no koto oyobi tsuki-dashi no koto.
(_The procession of yūjo and the first appearance of “recruits” in the Yoshiwara._)
The procession, or promenade, of _yūjo_ has been considered as, _par excellence_, the most splendid spectacle and important ceremony of the Yoshiwara. Once in the earlier years of _Meiji_, and once again in 1887, when the cherry-blossoms were in full bloom, this wonderful procession took place, but since then no attempt has been made to revive the time-honoured custom. Even on the two occasions referred to, the affair was not carried out in strict accordance with the ancient style, but in a far simpler fashion.
The best account of this procession of _yūjo_ ever written is given in Mr. Henry Norman’s “_The Real Japan_,” and it is therefore quoted here.
“The most extraordinary spectacle of the Yoshiwara takes place for a few afternoons at five o’clock three times a year, when the flowers in the long street gardens are changed. First in spring comes the pink glory of the cherry-blossoms; then in summer the purple of the iris; then in autumn the hundred colours of the chrysanthemum, the national flower of Japan. When the new flowers are planted the _yūjo_ pay them a state visit. From each of the principal houses half a dozen of the most beautiful are chosen and arrayed in gorgeous clothes, their hair dressed monumentally, combs three feet long stuck in from side to side, and then they are mounted upon black lacquered _geta_ or pattens a foot high. When they are ready to start a score of servants accompany them; two or three precede them to put the crowd away; one holds the hand of each _yūjo_ upon either side, and solemnly and very slowly, a step a minute, the wonderful procession moves round the garden. Other processions issue from the houses and meet and pass, and by and by the whole main street of the Yoshiwara is packed with an open-mouthed crowd, over whose heads the faces of the processionists can be seen here and there.
“The walking upon the tall heavy _geta_ is itself an accomplishment and girls are specially trained to it. One foot is put out a little way and planted firmly, then the other _geta_ is lifted by the toes tightly grasping the strap which passes between the first and second toes, and swung round in front of the other and across it. The first is then lifted and placed on the other side of the second—exactly in fact like a skater doing the outside edge. The Japanese call it _hachimonji ni aruku_—‘figure of eight walking.’ It is difficult to give in words an adequate notion of the extraordinary effect of this procession. The costly and gorgeous clothes of the _yūjo_, silks of marvellous richness, and brocades blazing with scarlet and gold; the exaggerated bow of her _obi_ tied in front (the courtesan is compelled by law to distinguish herself in this way),[40] the pyramidal _coiffure_, the face as white as snow, the eyelashes black, the lips vermillion and even the toe-nails stained pink; the men-servants respectfully holding the tips of her fingers on each side and giving as much heed to every step as an acolyte might give to an aged Pope, her several women servants walking solemnly behind: a footman pushing back the crowd and another removing every twig or dead leaf from her path; her slow and painful _hachimonji_; her stony gaze straight before her, half contemptuous and half timid; the dense and silent crowd; the religious aspect of the vicious ceremony,—all these go to make a spectacle apart from anything one has ever seen—an event outside all one’s standard of comparison—a reminiscence of phallic ceremonial—a persistence of Priapus.”
In the “_Yoshiwara Taizen_” (吉原大全 _The Complete Book of the Yoshiwara_) reference is made to the effect that
“The term _dōchū_ (道中 a journey; travelling) meant the going out of a prostitute to an _age-ya_, or to promenade in the Naka-no-chō. It was used in the sense of travelling to a distant part of the country because, for instance, when a _yūjo_ of Yedo-chō started out to go to Kyō-machi she was supposed to be going on a journey.
“It requires some considerable training to enable a _yūjo_ to make a _dōchū_ as it is a most difficult thing to lift the lower portion of her clothes in such a manner as to move with graceful dignity.
“Though there are no _age-ya_ to be found at present, the custom is still preserved, and the appearance of _yūjo_ in the Naka-no-chō is called the _dōchū_.”
In the days when there were _age-ya_ in the Yoshiwara it was the custom for a _tayū_ to go out to the _age-ya_ to which she was called to meet her guest, and on these occasions she was escorted by her _shinzō_, _yarite_, _kamuro_, and _wakaimono_. With reference to this subject, the _Dōbō Go-en_ (洞房語園) says that
“In the Moto Yoshiwara (prior to its removal to the present site), _yūjo_ used to be carried to _age-ya_ on the backs of servants when it rained. These men-servants (called _roku-shaku_), by placing their hands behind their backs made a seat, by means of their palms, on which the _tayū_ sat—or rather knelt—carefully wrapping her underwear around her feet and leaving her outside dress hanging loosely down. The _tayū’s_ hands were not employed in holding any part of her bearer’s body, but engaged in adjusting her garments, etc. From behind, a servant covered her with a long-handled oil-paper umbrella, and in this position the _tayū_ is said to have looked very stylish.”
Since the removal of the old brothel quarter to the present Yoshiwara, it is said that _tayū_ sometimes went out to _age-ya_ riding in palanquins, as this was considered to be a convenient mode of transit.
In the “_Dōbō Go-en I-hon Kō-i_” (洞房語園異本考異) it is stated that
“Up to the era of Keichō the ladies of noble families were usually borne on the backs of men-servants in rainy weather, palanquins being but every seldom used. These ladies wore a kind of veil-like hood (_katsugi_) on their heads, and on the backs of the bearers were fastened wooden rests on which the women could sit. The custom of prostitutes being carried on the backs of men-servants appears to have arisen through a desire to ape the higher classes.”
[Illustration: Courtesans being carried to _age-ya_—_vide_ pages 192–193.]
“Since their removal to the Shin Yoshiwara, palanquins were often used, but later on were dispensed with, and _yūjo_ preferred to walk to their destination even in rainy weather. * * * As stated above, better-class _yūjo_ went out in palanquins when the weather was rainy, or the roads dirty, but _shin-zō_ used to walk, wearing sandals called “_tsume-kakushi_” (nail hiders): these _tsume-kakushi_ were more particularly in use in the Mi-ura-ya of Kyō-machi.”
The reason that the promenading of _yūjo_ became one of the most splendid spectacles of the Yoshiwara in later days was because (though the women ceased to pass to and from the _age-ya_ after the disappearance of the latter) they used to be in the habit of showing themselves gorgeously apparelled in the Naka-no-chō and holding an exhibition of themselves in the tea-houses there. The custom of the _dōchū_ is therefore a relic of a prevailing fashion of those times.
As already stated, a _yūjo_ who went out walking in rainy weather was covered by a long-handled umbrella held over her head from behind. This umbrella was usually employed by persons of gentle birth, but its use by _yūjo_ was permitted on the supposition that the latter were Court ladies.[41]
To see the procession of a _yūjo_ at night passing through the brilliantly lighted streets surrounded by her _shinzō_, _kamuro_, _yarite_ and _wakaimono_, proceeded by a great lantern emblazoned with her crest, and followed by a crowd of tea-house and _funa-yadō_ people each carrying a lighted _chōchin_, was a very imposing sight indeed, and one which probably was unique of its kind and without a parallel in any other country.
In ancient times all _yūjo_ wore sandals, but later on a woman named Fuyō (in the employ of Hishiya Gonzaemon of Sumi-chō), who was an open-handed extravagant person and fond of ostentatious display, began to wear _koma-geta_ (a kind of matted clog) even on fine days. The charming manner in which this woman minced along on her _koma-geta_, artfully disclosing the scarlet lining of her clothes as she walked, and the general grace of her demeanour, evoked universal admiration. Imitation, it is said, is the sincerest form of flattery, and the people must have been very much fascinated with Fuyō’s _koma-geta_, for they all began to gradually imitate this style of foot-gear, until it became the popular fashion of the Yoshiwara. On New Year’s day, and on other holidays, no _koma-geta_ were used by the women belonging to the house of Matsubaya Hanzaemon of Yedo-chō, and it therefore seems that even at this period something of the simplicity of old-time customs was retained, and that the community had not as yet fallen into the luxurious habits of later days. The extravagance manifested in wearing apparel used in promenading appears to have reached its climax about the 11th year of Kwansei (1799), for it is mentioned in the “_Kyaku Monogatari_” (客物語 = written by Samba—a noted humourous writer), that the outer garment was of deep blue coloured satin, the skirt being embroidered with a pattern composed of lobsters: the underclothes were of green coloured _mōru_ (a kind of thick cloth woven with raised figure’s) secured by a _shigoki_ (loose girdle) of grey-coloured satin lined with red crêpe. The hair was done in the _Hyōyo-musubi_ style and was ornamented with two combs and eight hair-pins, this having been the regular custom of the time.
In the Bunkwa (1804–1817) and Bunsen (1818–1829) eras the _shikake_ (loose robes) worn when promenading were either black or green in colour and were, as a rule, richly embroidered in gold and silver thread and silk thread of various hues. The patterns most in vogue were _unriū_ (dragons and clouds), _hiriū_ (flying dragons), _gan-ka no botan_ (peony flowers below a rocky cliff), _mōshi kyō-hon_ (raging lion), etc.; and the general effect of these gorgeous embroideries, glittering with gold and blazing with all the colours of the rainbow worked in harmonious blendings, was indeed striking and unique. Under the _shikake_ were worn three white _rinzu_ (figured satin) _kosode_ (one over the other) each bearing five large crests dyed upon them.
Their manner of walking was known as _uchi-hachi-mon-ji_, because each step was taken with the toes pointed inwards (_uchi_) like the Chinese character (_monji_) eight (_hachi_ 八). There are but very few persons who now understand this Style of walking. Later on, the custom of wearing _geta_ (clogs) was introduced by the _yūjo_ Fuyō, (already mentioned) who was vainly fond of finery, as she initiated the practice of wearing three-legged _geta_, with straw sandals attached to them. There were certain fixed ceremonial dresses which were worn according to the season, and special costumes for the New Year’s holidays and the 1st day of the 8th month. It is stated in the _Kita-zato Bun-ken-roku_ (北里聞見錄) that on the 3rd day of the 1st month of the 11th year of Bunkwa (February, 1814) among the _yūjo_ who were out walking in their brand new _geta_ and magnificent gala dresses, astonishing the spectators with the dazzling splendour of their gay apparel, was a woman named Ariwara (belonging to the house of Tsuru-ya Ichisaburō of Kyō-machi It-chōme) who became the centre of attraction owing to the novelty of her costume. She wore robes made in imitation of those worn by certain military officers of the Imperial Court (_Ō-uchi bu-kan_). From the waist upwards the material was of a pale blue tint and on it were embroidered three corded lines in silver thread. On the left shoulder was embroidered a bundle of _kiri-fu no ya_ (arrows winged with the spotted feathers of a falcon) worked in gold, silver, and coloured threads. This upper garment represented the _naoshi_ (a kind of robe worn by nobles). The lower portion was dyed a deep purple and embroidered with _yatsu-busa no fuji_ (eight-petalled wistaria flowers) in silver: this apparently was intended for _sashi-nuki_ (a kind of silk trousers worn by warriors.)
Her _obi_ (girdle) was of crimson worked with elaborate embroideries in gold, silver, and coloured threads. Her hair was done in the _karawa_ (_osa-fune_) style. The whole “get up” was that of a Court warrior, and it is said that the idea of dressing herself in this manner occurred to Ariwara owing to her family name being similar to that of the noted warrior and poet of ancient day—Ariwara Narihira Ason. This instance of the extravagant nature of a _yūjo’s_ dress in those days is merely given to illustrate the quaint costumes adopted, and the lavish manner in which the women spent their money in their endeavours to show themselves off in novel and costly habiliments. It is curious that notwithstanding the magnificence of their costume the _yūjo_ ceased to wear _tabi_ (socks) in the Kwansei (1789–1800) and Bunkwa (1804–1817) eras, although they had worn them prior to the Tenna era (1681–1683). In ancient times the _tabi_ were of leather, stained purple.
When an _ane-jōro_ (elder-sister-harlot) initiated her _imōto-jōro_ (younger-sister-harlot), and allowed her to appear in the _misé_ for the first time, the act of thus furthering the interests of the younger woman was called _tsuki-dashi_ (to push out and forward). It was the bounden duty of an _ane-jōro_ to arrange everything connected with this _tsuki-kashi_ ceremony at the request of the brothel-keeper, and this act of duty was known as “_o yaku_.”
The _tsuki-dashi_ proper lasted for a week, and during that time the debutante, accompanied by her _ane-jōro_, used to promenade the streets of the Yoshiwara by way of introduction, in the same manner as if she were performing a regular _dōchū_. Every day, both the debutante and the _ane-jōro_ appeared in different costumes. The hair of the _ane-jōro_ was done either in the _Hyōgo_, _osa-fune_, _sage-gami_, or _shimada_ styles, but the coiffure of the debutante was invariably made in the _shimada_ style. [Since the advent of the Meiji era this custom has disappeared, but according to the narrative of a person who once saw such a ceremony, the debutante wore yellow clothes, and the clothes of her retinue of _yarite_, _kamuro_, and _wakaimono_, were all of a similar hue].
During the week of introduction, the new-comer was engaged by her fellow _yūjo_ in turn, and to the latter presents were made by way of reciprocity.
The expenditure involved in connection with the appearance of a new _yūjo_ was roughly estimated at from 300 to 500 _ryō_. Then there were expenses connected with the _tsumi-yagu_ (bedding), usually ordered from “_Dai-maru_” and “_Echigo-ya_.” Of course in all these matters there were wheels “within wheels,” and, although the _tsuki-dashi_ expenses were nominally defrayed by the _ane-jōro_, as a matter of fact the latter tapped the pockets of her guests to meet the bill. Generally an _ane-jōro_ would have a number of admirers who could well afford to be generous, such as officials of the Government treasure godowns, wealthy _saké_ merchants of Shinkawa, etc., and on these occasions the astute lady would not fail to wheedle out of them all the cash she wanted. The classes of _yūjo_ who anciently participated in promenading were the _Chūsan_ and _Yobi-dashi_, and though the system of going to _age-ya_ when called by guests no longer existed, the women continued to walk in the Naka-no-chō after dusk for the purpose of showing themselves to the spectators and as a means of attracting guests. The procession was proceeded by a couple of firemen (_tobi-no-mono_) carrying a _kanabō_ (an iron staff fitted with rings), which they struck on the ground as they walked, producing a sharp metallic jingle and thus warning the crowds of the approach of the _oiran_.
With them walked a _wakaimono_ (man-servant), lighting the way with a big lantern (_dai-hari_) on which was emblazoned the crest of the _yūjo_. The _yūjo_ herself walked slowly along escorted by two _furi-shin_ (_furi-sode shinzō_), two _kamuro_, one _ban-shin_ (_ban-tō-shinzō_) and six _wakaimono_. They never returned the same way they went out: it was a rule that when a procession walked on the right side of the street on its way out, it should return on the left side. While the procession moved, the proprietors of tea-houses came out to the front of their establishments, saluted the passing beauty, and urged her to sit down and rest there; but she would merely smile graciously and walk on, placidly smoking her handsome pipe the while. _Yūjo_ were formerly well-trained in their special manner of walking in procession, and though they wore very high clogs, accidents but rarely happened. To stumble was considered a sad disgrace, and if a _yūjo_ accidentally tripped up in front of a tea-house custom demanded that she should enter the establishment and entertain all the inmates at her expense. The sight of a lovely and bewitching _yūjo_ clad in rich silk brocades glittering with gold and polychromatic tints; of her wonderful pyramidal coiffure ornamented with numerous tortoise-shell and coral hair-pins so closely thrust together as to suggest a halo of light encircling her head; and her stately graceful movements as she swept slowly and majestically through the Naka-no-chō, must indeed have appeared magnificent and awe-inspiring to the uninitiated. Indeed we are told by ancient writers that the spectacle fairly entranced the country-folk and “robbed them of their very souls”, and from such remarks we may gather that these processions of _yūjo_ were by no means conducive to the elevation of the moral tone of the crowds of persons who flocked to see the Yoshiwara with gaping mouths and upturned eyes.
Yo-misé “Suga-gaki” no koto.
(_The night exhibition and the suga-gaki._)
In view of the approaching “mixed residence” of foreigners in the interior, it is said that the authorities are contemplating the advisability of interdicting the present custom of exposing _yūjo_ in “cages” to public view; and that Susaki will be the first prostitute quarter to discontinue this somewhat scandalous practice. Even as it is, the exhibition of _yūjo_ in cages is not openly recognized except in the Yoshiwara and a few other _yūkwaku_, so the probability is that is will be discontinued ere long, even without the interference of the local governments. While many have no sympathy with the “_hai-shō-ron_”[42] movement which found a good many supporters in Japan a few years ago, it is their profound conviction that the prostitute quarters should not be made a show-place, that display for the purpose of the attracting attention should be discouraged, and that reverence for humanity and common chivalry should forbid even the semblance of anything approaching the public exhibition of unfortunate women, however low they may have fallen. At the present time, the majority of the Japanese public do not seem to see anything shocking or strange in the sight of hundreds of gaudily attired courtesans sitting in rows exposed to public view as living “samples,” and this tends to bridge over the sharp line of demarcation which should exist between the _demi-monde_ and honest women. This again leads to a good deal of freedom and license of speech, and permits the doings of _yūjo_, and the libertines who support them, to be unblushingly chronicled in newspapers and indelicately alluded to in novels. Then again, at the time of the festival of the “_Tori-no machi_” the various _yūkwaku_ are crowded by a vast multitude of sight-seers including thousands of young persons of both sexes: this means that very young and perfectly innocent boys and girls are so accustomed to the strange scene, that they see no indelicacy in it, and so they grow up knowing far more about these matters than is good for them. To Europeans and Americans it is a strange sight to see family parties, including modest young girls, wending their way through the crowded streets on the night of the _Tori-no-machi_, buying various knick-knacks and gazing at the painted beauties in their gorgeous dresses of glossy brocade and glittering gold. It is certainly opposed to foreign ideas to take one’s young daughter sight-seeing in a prostitute quarter!