Part 18

Every year, on and after the 3rd day of the 3rd month (old style), notice of the opening of the flower season (_hana-biraki no fuda_) is posted at the _ō-mon_ (great gateway), and in the middle of _Naka-no-chō_ fences of green bamboo are constructed within which are planted blooming cherry-trees. The commingling cherry-blossoms, blending together into one dense mass of soft fleecy rolling cloud which braids the trees with visible poetry and transforms the avenue into a veritable fairy bower of pink and white florescence, the dazzling glory of the electric lights, and the flashing brilliance of thousands of crested lanterns, makes up a sight which baffles description and must be seen to be appreciated. The garish splendour and blazing radiance of the Yoshiwara at this time is such as to have earned for it the appropriate name of _Fuyajō_ (不夜城 = “Nightless castle”).[54] Besides the actual flowers, artificial is added to natural beauty, and curtains with a cherry pattern dyed upon them are hung up in the second story of the tea-houses. There they gently wave in the soft spring zephyr, beckoning the passer-by alluringly and enticing him to exploit the secrets of dreamland which they veil so cunningly and suggestively. Of late years plum-trees are planted in the second month, iris in the 5th month, and chrysanthemums in the 9th month (old calendar), and on one occasion the figures of well-known actors made of chrysanthemum flowers—the work of the noted Yasumoto Kamehachi—were also shown. But of all the flowers planted none can equal those of _Naka-no-chō_ “_Yo-zakura_” (“night-cherries”) which have become famous throughout the length and breadth of Japan, and whose praises have been sung in song and told in story generation after generation by enthusiastic poets and writers during more than fifteen decades.[55] The origin of flower-planting was that in the second year of _Kwampō_ (1742) cherry-flowers in pots were exhibited in front of the tea-houses, and this having been noised about the city of Yedo, multitudes of persons visited the Yoshiwara nightly in consequence. The Yoshiwara people were not slow at taking the hint, and the following year several hundred cherry-trees were planted at Naka-no-chō.

[Illustration: 仲の町花盛之圖 Courtesans and Guests viewing the Cherry-blossoms in the Naka-no-chō. Period of Kiōwa (1801 to 1803). (_After the Picture by Kitagawa Utamaro._)]

Later, in the 2nd year of En-kyō (1745), cherry-trees were planted between the _ōmon_ and Suido-jiri, bamboo fences being built around and bright lanterns being lit under them to enhance the effect. This departure attracted a large number of persons to the quarter.

In those times the expense of the enterprise was fixed at 150 _ryō_ every year, 40 per cent being paid by the _Kembansho_, 40 per cent by the miscellaneous traders in the Yoshiwara, and 20 per cent by the tea-houses. The subscriptions were made in the shape of daily or monthly deposits by those interested, and it appears that this practice is still in vogue.

In front of the tea-houses on either side of the street curtains dyed with fantastic designs were hung, and in the front rooms red carpets were placed, these practices being observed even at the present day.

In ancient times, _kamuro_ and _shinzō_ were allowed to visit Ueno, Asuka-yama, Mukōjima, and other places to view the cherry-blossoms during this month; and another holiday was taken by the inmates of brothels, including _yūjo_, _wakaimono_, etc., who spent a day in giving _saké_ parties and viewing the blossoms in the _Naka-no-chō_. One year the following song was composed by Ki-no-kuni-ya Bunzaemon and Kikaku conjointly:—“_Like silvery haze the cherry-blossoms reflect the setting sun; they are like a mountain strewn with golden flowers._”

The prosperity of the Yoshiwara was at its zenith at this period, and the quarter was counted as one of the places in Yedo which was “worth a thousand _ryō_ per day.”

Tōrō no koto.

(_Lanterns._)

At present, in the month of August every year, a large lantern, on which is a painting from the brush of some well-known artist, is exhibited in the centre of the Yoshiwara at _Naka-no-chō_ for the purpose of attracting people. Besides this show-piece, revolving and other lanterns of various shapes and designs are hung in front of the tea-houses and lit up nightly. Under these circumstances many persons—not excepting women—flock into the Yoshiwara to witness the brilliant spectacle, and many a prodigal is induced to squander money there by reason of the lanterns which apparently only serve to dazzle his eyes and obscure his reason instead of enlightening him and guiding his footsteps. The general style of lantern is vertically long but narrow in breadth, it being made of silk stretched on black-lacquered frames. It is supported by a pair of cedar poles covered with an _ichimatsu shōji_ by way of a roof. Each house is provided with a pair of these lanterns, one facing the street and the other the interior of the building, so that one can be seen from either side: this arrangement has nullified the old saying “_tōrō wa ura kara miro, niwaka wa mae kara miro_” “(_look at the lanterns from behind and the niwaka dance from the front_”). One writer observes that as late as the 20th year of Meiji (1887) the lanterns placed in front of tea-houses faced the streets, and were therefore only seen to advantage by pedestrians, while actual guests who went up into the second story of a tea-house had to content themselves with looking at the rear of these lanterns. The present day fashion would seem to be of very modern origin indeed. After the 10th year of Meiji (1877) the tea-houses in the Naka-no-chō hit upon the novel idea of putting up white cloths at the entrance and making displays by means of magic-lanterns, but as this made the Yoshiwara practically a dark world it occasioned great inconvenience to the guests. From time to time the tea-house-keepers have shown themselves very ingenious in getting up new schemes to attract visitors, and on one occasion they displayed an artificial moon on a screen so contrived as to show the movement of clouds flitting across its face: all these displays are reckoned as making up one of the notable events which take place in the Yoshiwara yearly.

[Illustration: Illuminated lanterns in the _Naka-no-chō_]

[Illustration: Illuminating Tea-houses with Lanterns in the Kiōwa period (1801 to 1803). (_After the Picture by Kitagawa Utamaro._)]

According to the old custom, every year, from the last day of the sixth month to the last day of the seventh month, _bon-dōrō_ (lanterns erected at the festival of the dead) were shown by all the tea-houses in the Naka-no-chō, but they were not exhibited in front of the small brothels in side streets as at present. The exhibition was suspended on the 13th and 14th days, and after the 15th day new lanterns called _ni no kaeri-dōrō_ were substituted. The lighting of lanterns in the 7th month of the year, during the festival of the dead, was a universal custom in Japan from olden times, and therefore lanterns of various shapes and sizes were used in the Yoshiwara also. The “_Yoshiwara Taizen_” (吉原大全) says that one summer a popular _yūjo_ named Tamagiku was taken suddenly ill, and that after lingering for a little while she passed away at the beginning of the 7th month.

In order to console her spirit, and as a sacrifice to the manes of the dead, the tea-houses who had been friendly with her hung up before their doors lanterns which were called “_kiriko-dōrō_” (a lantern of a cubical form with its corners squared). This illumination attracted considerable attention and drew many guests, so “business” flourished exceedingly that season, and accordingly in the following year (1716) the practice was followed by all the tea-houses. About that time an expert in fancy hand-work, named Ha-ryū, made a prettily contrived fantastic lantern which he gave to a certain tea-house, and this drew a large number of interested and admiring spectators. In this connection a story is told to the effect that on the 4th day of the 7th month of the 1st year of Gembun (10th August, 1736) a teacher of the _samisen_, named Kayei, who lived in Ageya-chō, held a service in his house in memory of Tamagiku and at the same time a new tune named _midzu-chōshi_ (水調子) was played. In the room were hung a number of lanterns bearing the _kaimyō_ (posthumous name) of Tamagiku, and every guest was presented with one on his return home. As it was considered as unlucky to have lanterns inside the houses bearing the Buddhistic name of a dead person they were hung up outside the tea-houses. [It is said that on the lower part of these lanterns lines of a green colour were traced.] A request to be allowed to exhibit these lanterns was preferred by the tea-houses to the monthly managers of the Yoshiwara, but as the latter refused their consent the tea-house keepers carried out the idea without obtaining permission. Dōjo of Yedo-chō, and Tamaya Dōkaku, who were then monthly managers, were greatly enraged at the independent action of the tea-house-keepers, and struck down the lanterns of Sumiyoshi-ya and three or four other establishments. The matter was however settled up quite amicably by the tea-house-keepers apologizing, and the authorities granting permission, so after the next year the lantern show commenced and has been continued down to this very day, though the religious aspect of the observance has been completely lost sight of. In former days it seems that besides the lantern show, acting by boys, circus-feats, juggling, etc., took place, but they ceased later. In some years the lanterns displayed have been very fine artistic creations, bearing pictures painted by well-known painters; and anyone who saw the Yoshiwara between the middle of July and the middle of August 1886 will never forget the historical drawings of Hōnen and Eitaku then exhibited on the lanterns.

[Illustration: Night scene in the Yoshiwara during the “_Feast of Lanterns_”]

“Niwaka” Dancing.

The performance of “_Niwaka_” dancing is considered to be one of the most interesting features in the life of the Yoshiwara. It consists of a kind of dramatic representation given by the professional buffoons (_hōkan_) and singing girls (_geisha_) of the quarter, and it takes place about August or September each year. When this comic dance takes place the performers visit all the tea-houses giving an exhibition of their buffoonery, and it is said that this entertainment is given in return for the patronage all the members of the troupe usually receive from _chaya_ (tea-houses) and _kashi-zashiki_ (brothels). During the continuance of the “_Niwaka_” dancing wooden railings are put up on both sides of the Naka-no-chō for the purpose of demarkation, and in front of the tea-houses lanterns shaped like _asagao_ (“morning glory”), bearing the respective house names, are hung up and lit. On either side of the _Ō-mon_ are placed a pair of very large lanterns (_takahari-chōchin_) on which are written the letters 全盛遊 (_Zensei-asobi_ = Magnificent Entertainment). To carry out this dance involves considerable trouble and much preparation, and the very first step which has to be taken is to obtain the permission of the police authorities. After official sanction has been granted preparations are commenced, and the _hōkan_ and _geisha_ all repair to the manager’s office where they draw lots as to whether they shall take part in the first fifteen days’ performances or the second fifteen days’ dances.

Those older _geisha_ who undertake the “lion” dancing and “_kiyari_” songs draw special lots for that purpose, but unless a _geisha_ is a masculine looking woman she will not be admitted into this company, and admittance is earnestly desired by many of the professional singers who compete strenuously for the honour. The performance of “lion” dancing and “_kiyari_” singing is limited to the first half month, and the geisha who are picked out for this coveted company are experts in their line: those who are new to the quarter give way to their predecessors in order of precedence. When their order has been fixed, by means of lots, a dozen women are formed into a troupe, and for ten days the “_hiyari_” is practiced from morning till evening. For many years a man named “Kichi” (who was also known in the Yoshiwara by the nick-name of _Chigeinei no Kichi San_) acted as a teacher of the “_Kiyari_” songs, but at present one of his pupils, named Chō is undertaking the task of tuition. The mode of training is for the first half dozen _geisha_ to start a song and the remaining half dozen to follow them under the direction of the teacher.

[Illustration: 仁和哥之圖 The “_Niwaka-odori_” (Dance) in the Kiōwa period (1801 to 1803). (_After the Picture by Kitagawa Utamaro._)]

The dancers of dramatic representations also place themselves under a teacher and train continuously for ten days. It is agreed between the performers that during the training period they will not respond to the invitation of any guest, and no one has ever been found to infringe this rule. It is also a custom—if we may be allowed to mention a mere gastronomic detail—for the performers to eat _unagi no domburi-meshi_ (boiled rice and pieces of roasted eels served up in a deep bowl) at tiffin every day during of the period of rehearsal.

The dramatic representations played by the company include several new pieces, and the training of the dancers is confided to Hanayanagi Jūsuke. This man was born and brought up in the Yoshiwara, and so the duty of directing the dances is entrusted to him. It appears that new pieces are specially written by playwrights at the request of Jūsuke, and that all such productions are of a comic nature, because the _hōkan_ generally aim at exciting the hearty laughter of spectators by means of droll extravaganzas. When the training is finished a grand dress-rehearsal is given in one of the tea-houses, and on this occasion the proper costumes are worn. This dress-rehearsal is known as _nari-mono-iri_ (鳴物入り). Then what is known as _kwai-sho-iri_ (會所入り) takes place in the _kensa-jō_ (檢查塲 = inspecting office), each person entering the room in the order determined by drawing lots. The singers and musicians who participate in the meeting are all professionals. The _shishi-ren_ (獅子連 = “lion” party) goes into the office first, as it is considered the most important part of the company. At this stage the police make an examination of the persons in the building, as nobody is allowed to enter it unless possessed of a special ticket.

On the first day of the “_niwaka_” dancing the _kwaisho_ (office) sends out people with a drum (_shitaku-daiko_), which is beaten as they perambulate the Naka-no-chō, to announce the performance. If the weather be rainy, or the roads muddy and slushy, no performance takes place; when this is decided no drum is beaten and no lantern is hung before the _Ō-mon_ (great gateway). The “lion” party (_shishi-ren_) and the _niwaka no ya-tai_ (a kind of car, fixed up as a stage, on which the “_niwaka_” dance is performed) are started out from a certain fixed point at 7 o’clock in the evening, and go up and down the Naka-no-chō every night: if the car and the party go up the left side of the street this evening they will come down the opposite side to-morrow evening, and the show ends at 11 o’clock each night, when its members are recalled to the office. A “_niwaka_” stage-car consists of a wheeled stage about 18 feet square and proportionately high, and it is so made as to be separated into two sections, each of which is fitted with its own wheels. The stage is fitted up like a regular theatre, provided with scenery painted on silk and paper, and lighted by means of lanterns.

This stage-car is brought to a standstill just between two tea-houses in order that the performance may be equally well seen by both from their upper floors: the idea of placing the stage in such a position was originated by dancing-master Hanayanagi, whose great experience taught him that this scheme was the best for everybody concerned. Next come the _geisha_ who play the _samisen_, riding in a car fitted with benches made to accommodate them.

To the left and right of the benches uprights are placed and covered with lattice-work _shōji_, curtains of white and red colours are stretched across the top, and the whole car is lighted by means of three lanterns.

Then follows a _soko-nuke ya-tai_ (a bottomless car), which is a kind of square paper-box, without cover or bottom, in front of which is hung a _yoko-naga no andō_ (a horizontal lantern) on which is written the names of players, singers, dancers, and the name of the owner of the car. Inside this car are placed the _hayashi-kata_ (orchestra). The coolies who drag these cars from place to place are usually hired (through a contractor) in the vicinity of Matsuba-chō, Asakusa district, and are paid daily by the owner of the cars. The costumes of the _geisha_ who play the _samisen_ are of grey crêpe (dyed with their crests) trimmed at the bottom of the skirt with scarlet crêpe, white collars, black satin _obi_, and white socks. Their coiffure is in the _Shimada_ style, and it is kept in place by a hair-pin decorated with the design of _susuki_ grass.

The older _geisha_ attire themselves even more strikingly than the younger girls, and make use of loud colours—such as blue and scarlet—in their costumes, thus attracting considerable attention by the incongruity displayed. The male players and singers wear blue cotton clothes dyed with their respective crests. The _geisha_ who take part in the “_kiyari_” dress their hair after the manner of the top-knot style of men, intentionally spreading out their forelocks, and the whole get-up is like that of a _teko-mai_ dancer. They wear three or even five _jiban_ (loose shirts) a _hara-gake_ (a cloth shield for the abdomen) and an upper garment called a Yoshiwara-gaku. The right arm and shoulder is thrust out of the _jiban_, on which latter an elaborate design is usually dyed.

The girls all compete among each other in the matter of dress, and the result is that some exquisite patterns are adopted. They wear fine leggings, blue cotton _tabi_ (socks) and straw sandals, while across their breasts, depending from the right shoulder, dangle silver chains to which are attached little _kake-mamori_ (hanging charms): in their hands they hold fans (with black lacquered frames) on which are painted peony flowers, and besides these they carry _teppō-chōchin_ (cylindrical lanterns) on which some of the girls boldly and unblushingly inscribe the names of their paramours. This custom was started in 1894 and led to a good deal of amusement, as their friends solemnly imposed upon both the girls and their sweethearts a mock fine of ten _sen_ as a punishment for publicly advertising such love affairs! Thus equipped, they sing the _kiyari_ to the sound of the drum as they move on. A drummer, a wooden-block striker, a drum-carrier, and another person who carries the “lion’s head” mask, accompany the party. When one _kiyari_ song is finished the leader lifts his fan as a signal for the _hyōshigi_ to be struck, and the company moves on to the next house after shouting a farewell “_o yaka-mashū_” (“we’ve troubled you greatly”). The beginning and finish of the female, as well as the male _niwaka_, is announced by the striking of _hyōshigi_. In former times what was called the “_amefuri niwaka_” (_niwaka_ after rain) was in vogue. After the rain had cleared, men went about the tea-houses performing impromptu farces which often elicited applause by the ready wit displayed, but this practice has now ceased. About 10 o’clock an announcement is made by the _kwaisho_ people that a recess will be taken, and forthwith all the members of the company stop to drink tea which is provided by the house in front of which they may happen to be: on this occasion they also eat such food as may have been sent as presents by intimate friends among the _yūjo_ or their guests. During the period of these performances the company is open to engagement only in the day-time, and after 11 o’clock at night, as at the latter hour the public entertainment is finished. When the company receives a notice of engagement from a tea-house, the paper on which such notice is written is fastened on to the hair-pin of the leading geisha after being numbered, and after 11 o’clock the whole troupe go around to the tea-houses by whom they were invited in the order of the arrival of such notices. Needless to say, the company is elated in proportion to the number of these notice-papers. In ancient days the entertainments were often kept up through the night owing to the large number of engagements made.

[Illustration: _Niwaka-odori_ procession passing by a tea-house.]

On the first night of the _niwaka_ the company’s engagements are generally arranged in advance, for the reason that it is considered a disgrace to have no such appointments on the opening day. When the company obtains tips and gratuities from guests in tea-houses, etc., all such monies are divided among the persons taking part in the entertainment, not forgetting even the coolies. The engagement fees of the _niwaka_ company are charged at the rate of 12-1⁄2 _sen_ per _geisha_ per _joss-stick_ (_ip-pon_) for each guest, and a tip of 20 _sen_ each is also expected. Of course these rates are for first-class _geisha_ only, and the fees of other inferior _artistes_ are proportionately lower.

Strictly speaking, the company should go through its performances for the benefit of each contributing guest separately, but as a matter of fact the more convenient method of performing before several guests collectively is adopted. The _niwaka_ entails considerable expense on the _geisha_ taking part, and the means of defraying it are too often raised by yielding to the immoral desires of guests who are positively repulsive to them in every respect.

During the performance of the _niwaka_, every tea-house engages firemen to attend to miscellaneous duties, and the _kwaisho_ people wearing _hakama_ (bifurcated petticoat), and carrying lanterns, constantly go round through the streets to see if everything is in order. The “_wakai-mono_” (“young-men”) of the Naka-no-chō are also out on duty with lanterns (called _daihari_), and iron staffs to prevent overcrowding by the spectators. The _dai-hari_ carried by these men are placed in front of the tea-house by which the company has been engaged while the dancing is being performed: these great lanterns are intended as signals.

All the expenses connected with the _niwaka_ are defrayed by the brothels, tea-houses, etc.