Part 16

[Illustration: Modern Courtesans exposed “on view” in their cages.]

The chief objection to the public exhibition of handsomely dressed women is that it tempts youths who might otherwise remain chaste, and attracts them to the brothel-quarters. It is true that it is a boy’s nature to wish to see all unusual spectacles and pageants, and so long as they exist he will certainly make it a point of going and feasting his eyes upon them. If the authorities decide to prohibit the present system of “showmanism” it will mean that men will be obliged to enter the houses in cold blood for a definite purpose, and not be exposed to the temptation of being drawn in by the sight of a pretty face exposed as “on sale.” The authorities would also be well advised to absolutely forbid any kind of public _fête_ or festival from being held within the precincts of _yūkwaku_, to have the gates strictly guarded as of yore, and to refuse admittance to either women or boys unconnected with the brothels. This would be a blow to the “business” for a time, but it would result in a healthier moral tone among the rising generation, and do good in the direction of diminishing, if not preventing, the serious and far-reaching troubles and entanglements which occasionally involve young men in great distress and lead them on to commit actual crimes to gratify either their own salacious desires or the whims of the “scarlet women” with whom they are infatuated.

While the quarter was still situated at the Moto Yoshiwara the “profession” was carried on in the day-time exclusively, but when, on the 9th day of the 10th month of the 2nd year of Meireki (24th November, 1656), Ishitani Shōgen (the _Machi-Bugyō_) gave permission for the removal of the brothels to the present sites, the carrying on of business at night was also sanctioned.

This proving far more convenient for visitors who were not willing to be seen by others entering the quarter, the number of day-guests gradually dropped off, and at length nearly everybody came to visit the Yoshiwara after dark exclusively. In this manner, the brothels obtained the privilege of carrying on their “trade” both in the day and at night, and the fees of courtesans (_age-dai_) were divided into “_night_” and “_day_” fees. Each one of these fees was known as a _kata-shimai_ (half engagement). When the “day” hours were over, a large lantern (_andō_) was hung out in front of every brothel, and thus a distinction was made between “_day_ and _night_”. The _Dōbō Gō-en I-hon-kōi_ (洞房語園異本考異) says that:—

The reason why the profession of brothels was prohibited at night during the era of Tenna (1681–1683) was because that period was immediately subsequent to great internecine strife. Later on, in the case of the Yoshiwara only, this restriction was removed, and since that period the occupation has everywhere been carried on at night. In the Yoshiwara for instance (as in other quarters), “day work” became merely nominal owing to the simple reason that there were but very few guests in the broad daylight.

The “_Yoshiwara Taizen_” (吉原大全) remarks:—

The “day” was from noon until 3 P.M. and the “night” from 5 to 10 to o’clock P.M. Apparently finding that 10 o’clock P.M. was too early to close up the “shops”, some genius hit on the pleasant fiction of causing the watchmen to strike their _hyōshigi_ (wooden clappers) announcing the hour as 10 when in reality the temple bell was striking midnight. This originated the terms “real 10 o’clock” and “nominal 10 o’clock”.

At night-fall (about twilight) a small bell (_suzu_) was rung before the shrine (_kami-dana_) at the entrance of the house, and at the same time the _yūjo_ appeared in the _mise_ (cages) and the “_shinzō_” of the house struck up an air called “_sugagaki_” on the _samisen_. This performance seems to have been a relic of the times when harlots were skilled in singing and dancing.

It is stated in the _Yoshiwara Taizen_ (吉原大全) that while the Moto-Yoshiwara was in existence some short songs were sung to the accompaniment of the playing of the _sugagaki_. The following are examples:—

“Willow tree—forked willow tree—on the road-side! Prithee tell me whither thou wilt incline thy drooping branches when swayed by the breeze? I trow ’twill be towards the gentleman you love!” “Who is he that breaketh off a branch of yon willow tree on a calm Spring day? He is a gallant who rideth on a white horse.”

The singing of these songs was continued even after the removal of the Yoshiwara, but was dropped after the era of Kwansei (1789–1800). It also appears that the songs varied according to the house, but that gradually matters became simplified until the songs ceased and the _samisen_ was merely tinkled by the private _geisha_ of each brothel, as a pure formality. Even the playing of _samisen_ ceased prior to the advent of the Meiji era (1869–).

In the “_Nishiki-no-Ura_” (錦の裏) written by Kyōden, published in 1791, a “_Furishin_” is made to say:—

“Who was in charge of the _samisen_ last night? The koshimoto (a little maid) is complaining that she can’t find the _bachi_ (plectrum).”

This was because it was the duty of the _shinzō_ to play the _sugagaki_ every evening, and each one of them took charge of the _samisen_ alternately. Up to the An-ei period (1772–1780) _shinzō_ sung some _naga-uta_ or _Bungo-bushi_ and played the _koto_ or _samisen_, and, when the _shinzō_ happened to be a favorite, people came out in front of the neighbouring houses to hear her sing. This custom was of a comparatively later origin and was observed by some houses.

Now-a-days, just prior to the appearance of _yūjo_ in their “cages”, the _gyū_ strike a bundle of wooden clog-checks (_gesoku-fuda_) against the floor, and, while slapping the pillar of the entrance door with the palm of their open hand, imitate the squeaking of a rat. The hour this charm is performed corresponds to that at which _sugagaki_ was played in former days. _Sugagaki_ seems to have been evolved and developed from the tunes of _koto_ music, because one authority states that “_sugagaki_” means the playing of certain _koto_ airs without any accompanying song. In ancient times a blind musician made a departure in the direction of playing _koto_ music on the _samisen_, and this was handed down in the Yoshiwara as “_sugagaki_”.

During the Genroku era (1688–1703) “_Ni-agari suyagaki_” “_Yedo sugagaki_” and “_Sanya-sugagaki_” came into vogue owing to their suiting the tastes of fashionable persons.

There is a _kiyomoto_ song entitled “_Hokushū_” in which reference is made to the _sugagaki_, and the prosperity of the Yoshiwara at that time vividly described.

Daijin-mai no koto.

(_Dancing of millionaires._)

This style of dancing was most popular in the Yoshiwara during the Shōtoku era (1711–1715). The songs which were sung as a kind of accompaniment to this dancing are said to have been composed by a comic actor named Nakamura Kichibei (commonly known as Nishiban). Kichibei, being an expert singer of _ko-uta_ (light songs), was present at many _saké_ parties given by rich people, and entertained the guests so well with his singing and dancing that he became very popular. According to a certain book of songs, however, it is claimed that the songs were composed by a man named Seisai, but as the same book states the songs were composed during Gembun era (1736–1739) the identity of the composer is extremely doubtful. If these ballads were really written during the _Genroku_ (1688–1703) and _Shōtoku_ (1711–1715) eras, it is inconsistent that the names of Kibun (紀文) and Naramo (奈良茂)[43] should appear in the verses!

[Illustration: A Street Scene in the Yoshiwara a hundred years ago. _Copied from a drawing by Kitagawa Utamaro._]

Some people allege that the ballads were the result of literary efforts on the part of Kibun himself, but this seems rather apocryphal inasmuch that the name of Kibun is mentioned in them, and he would hardly compose songs about himself!

However, we may be well content to leave various antiquarians to quarrel over musty documents and ancient books, and content ourselves with knowing that the ballads _did_ eventuate in some way or other, and that _somebody did_ compose them. The following extracts are made from the “_Dai-jin-mai Kō-shō_” (大盡舞考證) and will give an idea of the songs, but it must be borne in mind that the translation is very free owing to the crudeness and vague character of the original text and the virtual impossibility of reducing the words into intelligible English.

The treasures of the Shin-Yoshiwara are hidden by the back of a palanquin. Passing through Shim-machi, Ageya-chō, Uki-hashi, Komura, and Yatsuhashi, one comes out into the Shitaya streets, sees the small cherry temple of Tōyeizan (Uyeno park) and the Toraren temple of Kinryū-zan (Asakusa temple). The thing which is praised and admired here is the long flowing haori of Kōhei-bō. Then you know Confucius said, ha! ha! whosoever worships us, ha! ha! will certainly be dragged to the wicked place, ho! ho! (Chorus:—“Ho-ho-hon, ho-ho-hon-non, ho-hon-yo ho-hon-yo no notamawaku wa, soto senya soto senya ariya chin na.)

Ha ha! ho ho! It is a felicitous omen of this tranquil reign that the waves of the four seas are undisturbed ha! ha! ho! ho! Look at the _Daijin-mai_ (dance).

(_Next “Daijin”_): The origin of the _kuruwa_ (prostitute quarters) is that Yuge no Dōkyō, by Imperial command, founded a _kuruwa_. On account of guests flocking in (_kuru_ 來) and their hearts being softened (_wa_ 和) it has been named “_kuruwa_.” Ha-a! ho-ho! Look at the _Daijin-mai_ (dance).

(_Next “Daijin”_): The five streets of the Yoshiwara have been named because Yedo-chō has “_en_” (affinity) with Yedo city: Fushimi-chō has affinity with _fushin_ (_fushin_ suru = to build); all difficulties having been overcome Sumi-chō was built, Shimmachi opened, and the bustling Kyō-machi established.

(_Next Daijin_): The title of _tayū_ originated when the first Emperor of Shin was out a hunting and encountered a heavy rainstorm. His Majesty then sought shelter under a small pine-tree, when the branches of that tree miraculously extended and the leaves spread out and locked together so closely that the Emperor was completely protected from the elements. For such virtues the pine and the bamboo are felicitous. Ha-a! ho-ho! Look at the _Daijin-mia_ (dance).

(_Next Daijin_): As to the beginning of guests, though the people may know nothing about Corea or China, everywhere in Japan they know the name of Kinokuni-ya Bunzaemon (Kinokuni Bunza). The Donsu Daijin (“Damask” millionaire) rivals him and redeems Kichō of Miuraya. Five rolls of red damask together with the cost of cotton-wool lining he sends to Ogiya Hanshi. He also presents a dagger valued at 25 ry which is still preserved as a treasure by Hanshi. Ha-a! ho-ho! Look at the _Daijin-mai_ (dance).

(_Next Daijin_): As the next _daijin_ we must mention Master Naramo. He redeemed Ura-zato who was well-known at Shimmachi as the leading belle of the Kagaya. He placed her in a mansion specially built for her reception at Kuroe-chō, Fukagawa, and the name of the mansion was “Mokusan Goten”. The _hōkan_ (jesters) in attendance on her were Itchō, Mimbu, and Kakuchō, while her female servants were O Man, O Kin, and O Yō. Koshirō, Zenroku, Kichibei, and Seigorō attend her in various capacities. But oh! what a change of taste, however, that this _daijin_ should again redeem Arashi Kiyoji! Ha-a! ho-ho! Look at the _Daijin-mai_ (dance).

(_Next Daijin_): The day-break on a Spring morning as sung by Seishōnagon (noted poetress) is interesting. Being attracted by the tinkling notes of _sugagaki_, crowds flock into the Yoshiwara dressed in their holiday clothes, to visit the girls for the first time in the New Year: so the _kuruwa_ becomes lively, and men walk about stretching their necks like herons.

The _tayū_ and _kōshi_ prosper and the _sancha_ and _baicha_ also become popular, their voices echoing like the twittering of singing birds. The great houses of Yamaguchi and Miura are famed for their wealth and prosperity, and indeed they are the famous things of Sumichō. Ha-a! ho-ho! Look at the _Daijin-mai_ (dance.)

(_Next Daijin_): Yamamoto no Hōjun is a well-known resident of Shimmachi, _Kago-guke_ (the feat of passing though a hollow cylinder of basket-work) of Tsunokuni is the famous thing of Sumi-chō, the Tosa smoked bonito sold by Temmaya is that of Ni-chō-me, and Hishidaya Matayemon is said to be a descendant of Shōji Jimbei. Look at the _Daijin-mai_ (dance.)

(_Next Daijin_): The beginning of Sin-goza must be attributed to Iseya Jūbei. He redeemed a well-known _yūjo_—Katsuyama—belonging to Ōmatsu-ya of Ni-chōme. _Yukata-mono_ (people belonging to respectable _samurai_ families) is the commencement of Shin-goza. Ha-a! ho-ho! Look at the _Daijin-mai_ (dance.)

(_Next Daijin_): As to the beginning of _yubi-kiri_ (finger-cutting) it first took place between the leading _yūjo_ of Tsuta-ya, named Fujishiro, and Totsuno Yohei, and then the practice gradually spread until it took place between Hana-Murasaki of Ōbishiya and Takayasu Hikotarō. Ha-a! ho-ho! Look at the _Daijin-mai_ (dance).

(_Next Daijin_). [Here the text is so obscure that nothing can be made of it.]

As to the tunes played when the _Dai-jin-mai_ was danced, these have been explained by Mr. Ōtsuki Jōden and by the widow of the late noted painter Naga-aki Anshun. (This lady was formerly a _geisha_ in the Yoshiwara called O-Hata, and is well versed in music as well as the ancient customs of the Yoshiwara: she lives at 42 Shōden-chō, Yokochō, Asakusa, Tōkyō). These songs are said to have usually been sung and danced by the _hōkan_ before guests during the New Year holidays.

Daikoku-mai no koto.

(_Daikoku-mai dancing._)

The custom of performing this _Daikoku-mai_ dance has now completely disappeared in the Yoshiwara.

According to the reply given by Shichizaemon, manager of the dancing, and also a subordinate chief of beggars (_hi-nin kogashira_) to an enquiry made of him by the _nanushi_ of the Yoshiwara in the 12th month of the 13th year of Tempō (January 1843,) there was, during the Genroku era (1688–1704), a subordinate chief of beggars, named Manjirō, living at the creek-side of Nihon-bashi, and this Manjirō was very proficient in the art of singing popular songs. One day he picked up a mask (representing the god Daikoku) floating in the creek, wore it, and danced comic dances in the Yoshiwara to the strains of the samisen played by his friend Shichizō. This was the origin of the _Daikoku-mai_. Shichizō (or Shichizaemon), who furnished this information, was a lineal descendant of the _samisen_-player Shichizō. The “_Dōbō-Goen_” says that in the first month of each year _Daikoku-mai_ dancers came into the Yoshiwara, performed various antics, and entertained people with their buffoonery and comic imitations of things and persons.

They used to frequent the Yoshiwara from the 2nd day of the first month of the year until the first “horse day” (_hatsu-uma_) in the second month. After that the “_Daikoku-kagura_” players frequented the Yoshiwara. The _Daikoku-mai_ dancers, however, visited the Yoshiwara on all principal holidays, especially on the bean-throwing day (_mame-maki no hi_) in the twelfth month and the last day (_ō-misoka_) of the year. These players were great favourites with many of the _yūjo_, and considerable money was given to them by the latter. It is said that a good many secret love passages took place between the _yūjo_ and these dancers. In the whole of the Yoshiwara only Kado Tsutaya at Yedo-chō, Ni-chō-me, made it a rule of the house not to grant admission to the _Daikoku-mai_ dancers. Prior to this, puppet dancers (_ningyō-tsukai_) also frequented the Yoshiwara, but since the appearance of the _Daikoku-mai_ dancers their visits ceased.

INTRODUCTORY SONGS OF THE “DAIKOKU-MAI.”

“In the morning of New Year’s day, facing the lucky direction of the compass, Daikoku-ten smiles as benignly as the _fukujusō_ (Adonis amuraisis.)

Like the rising sun flows a spring of _toso saké_ and crysanthemum _saké_. The _kamuro_ crysanthemum emits the odour of youthful fragrance. Various species of oranges, including that of the _ukon_, and also the cherry-tree of _sakon_ are planted in the gardens and covered with a purple hood. Look at the _Daijin-mai_ dance! Look at the _Daijin-mai_ dance.

On the head of the _jōro_ are hair-pins with the figures of storks which live a thousand years, and others having the flowers of the plum and cherry carved upon them. The spectacle of the fairy-like _kamuro_ promenading may well be compared to the flowers which are blooming in advance of the season. Who are the happy guests who come to this paradise at the beginning of the year? Look a the _Daijin-mai_ dance! Look at the _Daijin-mai_ dance.”

[Illustration: Daikokuten.]

After having sung these introductory songs, the names of the most popular _yūjo_ were read out in a kind of doggerel verse. When performing, the _Daijin-mai_ dancers wore some of the clothes given to them by their patrons or _yūjo_ (some of these clothes were quite costly, being made of crêpe) and held a fan in their hand. They wore a hood known as _Daikoku-dzukin_, and the ceremonial _kamishimo_. The presenting of fine clothes to these people by _yūjo_ was for the purpose of buying their goodwill. The “_Kiyū Shōran_” (嬉遊笑覽 = “Laughing-Pleasant view of Games and Pastimes”) remarks at such people as Hidenji, Shinokasho, Kōgai, and others who imitated the style of the god Daikokuten, put on a mask and hood, and at the beginning of the New Year went around in every part of the city singing new songs: they were also called “_Daikoku-mai_.” It appears that the _Daikoku-mai_ originated in the _Sagi-chō_ (ceremony observed on the 15th day of first month (o.s.) which consisted in burning, near the house, the pine, bamboo, _shimé_, etc. used as New Year’s decorations). Reference is made in the “_Seken Muna-sanyō_” (世間胸算用) to the effect that in the neighbourhood of a certain person lived a man whose profession appears (though it was not, judging from the property he possessed) to have been a kind of public entertainer. He pawned the _eboshi_ (cap worn by nobles) _shitatare_ (long silk robe) and a long sword at the close of the year in consequence of having his profession changed to that of a _daikoku-mai_ dancer who required only a cheap mask and a hammer made of paper. In the preface of the _Ebisu-Kyoku-Shū_ (夷曲集) it is remarked that the abilities of the Daikoku are—firstly, he sits on bags of rice, secondly he smiles benignly, and thirdly he puts all the luck and wealth in the bag he carries. * * * The “_Gaen Suikyō-shū_” (雅筵醉狂集) also says that compared with the picture of the Daikoku with his fan, and sitting on five bags of rice, the fan is rather novel contrary to the conventional five bags of rice. Next, the “_Kenjo Shinshō_” (賢女心粧) referring to the description of the slums of Kwato (Kyōto) says that the living of a family is made by the husband getting money by the favour of Awashima Dai-Myōjin, and the wife by wearing the mask of O Fuku (O-Kame). * * * In Yedo, occasionally beggars come round imitating the style of Ebisu and Daikoku, but the times of their visits are not fixed except in the Yoshiwara.

From these fragmentary accounts it would seem that the _Daikoku-mai_ was a kind of dance which degenerated until it was performed by beggars, wearing the Daikoku hood like the _manzai_, in front of every house. For a long time the Yoshiwara was free from their incursions, but the custom was resuscitated during the Kei-ō era (1865–1867) though in an altered form as far as their personal appearance was concerned. The latter day dancers of the _Daikoku-mai_ were attired, like the _Dai-kagura_ men in black clothes with crests upon them, and white _hakata-obi_: the skirts of their _kimono_ were lifted up (_shiri-hashi-ori nite_) and fastened by tucking the ends into their _obi_. They even powdered their faces, imitated the voices of well-known actors, and did other similar things. Though all these men were of the _eta_ class there were many handsome fellows among them and these were great favourites with the Yoshiwara women. A story is told of the daughter of a tea-house keeper at Tamachi called Minoya who eloped with one of these _eta_ class dancers. At that time _eta_ (leather dressers) were greatly despised in Japan, and under serious legal disabilities which prevented them from having any intercourse with other people, so the matter was at length brought before a Court of Justice and eventually this led to their being expelled from the Yoshiwara altogether.

There are now very few people—even in the Yoshiwara—who know much about these latter day _daikoku-mai_ dancers.

Dote-bushi no koto oyobi Hayari-uta.

[_Dote-bushi (songs) and popular songs._]

Nowadays, a visitor to the Yoshiwara usually hurries there in a _jinrikisha_, drawn by a couple of agile and sprightly young fellows who rush along like the wind, brandishing their lanterns and giving vent to unearthly yells as they run. In former days, in contrast to the present time, a visitor rode slowly to the quarter on the back of a white horse caparisoned in white and red, the animal being led by two _mago_ (grooms) who sang _komuro-bushi_ in turn as they walked. The charges from Nihon-bashi to the _Ōmon_ (gate-way) were 348 _mon_ (34 _sen_ 8 _rin_) including the fee for singing!

There were in the _Genroku_ (1688–1704) and _Teikyō_ (1684–1687) eras many popular songs such as the _nage-bushi_, _tsuyi-bushi_, _magaki-bushi_, _kaga-bushi_ of Uji Kagajō, _tanzen_, _numeri-utu_, _rōsai_, etc. In the beginning of Kwambun (1661–1673) a song called the “_Dote-bushi_” (embankment song) came into vogue, its name being derived from the fact that it was generally sung while people walked on the embankment. The words were about as follows:—

“Though it is such an out-of-the-way place, yet when I think of the place of your abode it is dearer to me than a gallery of precious jewels. Pray do not laugh at me in not paying heed to what others may think or say. Rumours may spread.”

The “_Dōbō Goyen_” (洞房語園) says that the above mentioned _dote-bushi_ was composed by an old man named Odaka Josuisai who lived at the foot of Matsuchi-yama. This old gentleman was also accredited with having written many other popular _dote-bushi_ songs which were sung by men belonging to the associations (_kumi_) of _otoko-date_, such as the Roppō-gumi, Sekirei-gumi, Yoshiya-gumi, Kanabō-gumi, Daishō-jingi-gumi, Tōken-gumi, etc. It is said that three of these songs remained popular up to the 2nd year of Bunkwa (1805), and that two of them ran as follows:—

“Yesterday was a jolly day, but somehow or other to-day seems gloomy. Shall we send for _Wadadsumi_ (sea deity) or _Shusubiin_ (?). There is something much better than these. What is it? We have left behind the fruit of an egg-plant painted with _beni_. Where? It was drawn somewhere at the _funa-yado_. Set your wits to work Bekuzō: have you no good ideas about the matter? I have none, absolutely none. I have no concern at all in the matter. The path of love, after all, is a weary one. Last night when in the Yoshiwara I learned a popular song, but I cannot remember either the beginning, middle, nor end of it.

Thinking I might forget it, I got it written down, but even the paper on which it was written I left at the entrance of my house. It is just the same with justice and reason. It is by no means amusing.”

There are only a few people who know whether the notes of these songs still remain in the miscellaneous songs of to-day. The air of the “_Yoshiwara Suzume_” seems to have been derived from the _dote-bushi_, owing to the composition of Hara Budayū who from his infancy used to recite these songs and attained great proficiency in singing them as he grew up. The preservation of the _dote-bushi_ note to this day—after the lapse of two centuries—must be attributed to him.