Part 6

The “_Yoshiwara Shin-hanjō-ki_” (吉原新繁昌記) says:—According to the custom of the Yoshiwara, all men-servants in brothels were called _wakaimono_ (young fellows), and this term was applied, in a most inconsistent manner, even to middle-aged or old men in the employ of these houses. The word is practically equivalent to “boy” as used by foreign residents in the East. There are different duties assigned to the _wakaimono_. In the best houses they are divided into _mise-no-hito_ (“shopmen”), _naka-don_ (inside men), _toko-ban_ (bed men), _chūrō_ (overseers), _nezuban_ (night watchmen—this duty is undertaken by all the men in turn), _furo-ban_ (bathroom men), _shita-ban_ (downstair men), etc. In the medium houses the _chūrō_ are omitted, but in some of them another class of men termed _oi-mawashi_ (overseers) are employed. In the case of most lower-class houses these grades are not known, or at least the division of labour is not so well arranged. In medium houses all the business is transacted by “_shop-men_,” “_inside-men_,” “_downstair-men_,” while in the lowest establishments, such as are to be found at Waru-gashi, Rashō-mon, and Fushimi-chō, a couple of men meet all the requirements of the brothel. It is also needless to say that there is a considerable difference in the number of servants employed according to the number of prostitutes kept by the various houses. The wages of these people range from 75 _sen_ to 1 _Yen_ per month (in 1899) which of course, would not be enough to keep them in clothes and food were it not for their perquisites and pickings. A “shop-man” (_mise-no-hito_), for instance, receives a squeeze of one _sen_ per _dai_ (a dish containing food) and one _sen_ per each bottle—holding 1 _gō_—of _saké_ consumed by guests, and besides 5 _rin_ (1⁄2 _sen_) for each pair of boots or clogs of which he takes charge. [This fee for taking charge of foot-gear is deducted from the _agedai_ of the courtesans.] There is another source of income which is by no means despicable. It is derived from the extortion—for no milder term seems adequate to express the meaning—of a small, or sometimes large, balance of change which is due to guests when the latter settle their bills. In the event of a bill amounting to _Yen_ 1.90, for instance, if a guest hands over 2 _Yen_ in payment, the courtesan, who is ready for the occasion, urges—nay almost compels—him to give the change (_tsuri_) to the servant. It may happen that this goes against the grain of the victim, but he generally yields to the pressure of the girl’s persuasion for fear of being considered mean. This squeeze is called a _chōchō_ (butterfly) and in some houses a collection of “butterflies” amounting to more than two or three _Yen_ per night is netted by the astute _wakaimono_. It will be observed that these “butterflies” are caught by the courtesan, therefore if the _wakaimono_ are not on friendly terms with the women they will not be successful in catching such nice fat _chōchō_.

According to the rules of each house accounts are kept either by the _mise-no-hito_ (“shop men”), _nakadon_ (inside men), or _yarite_. In every houses the proceeds arising from the sale of waste paper (_kami kuzu_) form part of the income of _meshi-taki_ (the kitchen servants). Tips are naturally desired by all the servants of brothels, but the _yarite_, _shinzō_, and _nakadon_ are the most frequent recipients of them, as their duties bring them into direct contract with guests. The _ōi-mawashi_ (overseers) and _meshi-taki_ (kitchen maids) have no share in tips other than those given under the name of _sō-bana_ by visitors.

The powers wielded by the _bantō_ (head clerk) of first-class houses are similar to those exercised by the masters themselves, and the respect in which they are held by the other servants almost equals that which is accorded to the employer himself. For instance, a _bantō_ generally comes down to his “office,” so to speak, every evening about 6 o’clock and remains until midnight (_nakabike_). On his arrival at, and departure from, the brothel, he is attended by the _naka-bataraki_ (parlor-maids?) and other servants, all of whom treat him with the most profound respect. Any commission (i.e.—_kasuri_ or “squeezes”) gathered in prior to the departure of the _bantō_ (this is before 12 o’clock p.m.) goes to him, but after that hour the “profits” are divided among his subordinates. The monthly revenue of a _bantō_ of one of the best houses from this source is, generally speaking, not less than 50 or 60 _Yen_, and even in a medium or lower-class house it ranges from 12 or 13 _Yen_ upwards to 20 or 30 _Yen_.

The _wakai-mono_ are technically known as _gyū_ and the origin of this term is explained in the “_Dōbō Goyen-ho_” (洞房語園補) as follows:—

In the era of Shō-ō (1652–1654) there was a brothel-keeper in _Fukiya-chō_ named Idzumiburo no Yohei. In this house was a man called Kyūsuke who had been long employed in the establishment and was consequently experienced in the reception of guests. The man, who was an inveterate smoker, made a peculiar pipe out of a thick piece of purplish coloured bamboo tube to which was attached a mouth-piece and bowl, and he was so fond of this contrivance that he carried it round with him everywhere, sticking it in his girdle when not in use. He was hump-backed and short in stature, and when he went about smoking his long pipe the good folk of the place said he looked like the Chinese character _kyū_ (及). The name was gradually transferred from Kyū-suke, an individual, to the whole class of attendants. First people spoke of going to “Kyū’s” (及) place, and this nick-name afterwards became almost a general term for men-servants in brothels. The present word “_gyū_” is a corruption of “_kyū_.”

Hōkan and Geisha.

[Illustration: ASHI-ODORI.]

In the Yoshiwara, _taiko-mochi_ (_hōkan_) are called _otoko-geisha_ in contra-distinction to female _geisha_. More generally they are called _tayū-shū_. At first they were divided into several classes, among them being _Uji_ (Uji’s school) _Sugano_ (Sugano’s school) _Ogiye_ (Ogiye’s school) and _Sukura-gawa_; their profession was to attend _saké_ parties and sing or play to amuse the guests. Gradually, however, they were forced to look after various affairs of their customers in order to buy the good-will of the latter. At present they have completely degenerated. In spite of the fact that the Yoshiwara is the veritable birth-place of the _hōkan_, those belonging to the quarter are far inferior to their contemporaries of the City proper in many respects. When a _hōkan_ of the present day is called to attend a party of guests in a brothel, he enters the room holding a folded fan in his hand, and after saluting the guest who has called him snaps the fan he carries with a sharp clicking sound and expresses his obligation to his patron’s companion in the stereotyped phrase—“_oiran maido arigatō_” (thank you madam for your constant favours). He then bows in turn to every person in the room, including other courtesans and _geisha_, his actual patron being disregarded for the time being. As soon as the party gets livened up from the effects of liquor, and the feasting has began to flag, the jesting and buffoonery of the _hōkan_ waxes fast and furious and is accompanied by droll contortions and gesticulations, _ashi-odori_, _suteteko_, and even _hadaka-odori_.[25] These disgusting and highly suggestive antics of the _hōkan_, far from scandalizing guests, are received with great applause and appear to afford much amusement to all present. In the Yoshiwara, the most popular _hōkan_ at present (1899) are Zenroku, Minchū, Hambei, Shōkō, and Heiki. The usual costume of a _hōkan_ consists of a _haori_ of black cloth having five crests upon it, and a _kimono_ of a different coloured crêpe. According to the narrative of an old man, there were in the era of Tempō (1830–1843) two classes of _hōkan_ named _zamochi_ and _taiko-mochi_. The former were well versed in every branch of polite accomplishments including _kō-cha_ (incense-burning and tea-ceremonial) _ikebana_ (floral arrangement) _shikyoku_ (playing various kinds of musical instruments) etc., and were generally called to parties given by nobles, gentlemen, and wealthy merchants. In private life they were admitted to the friendship of poets and literary men, and even in ordinary times wore crested ceremonial clothes. When attending their customers they wore a small wooden sword called a “_kami-ire-dome_” (pocket-book holder) and carried about them a sum of at least 25 _ryō_ (about _Yen_ 250) for the purpose of making payments on behalf of patrons, as it was not the custom to receive money from the latter on the spot. The ordinary _taiko-mochi_, on the other hand, were those who had no special accomplishments, but even these were more accomplished than their modern representatives. They were also colloquially termed “_no-daiko_.”

[Illustration: _Geisha_ Dancing the “_Kapporé_.”]

[Illustration: Yostume no mon.]

When a _hōkan_ intends to enter the profession on his own account, he goes round to the various brothels and the tea-houses under the guidance of his teacher and fellow _hōkan_ for the purpose of introducing himself and soliciting patronage. This proceeding is described as _hirome wo nasu_ (to “advertise” oneself) and the larger the number of fellow _hōkan_ who follow the debutante the greater the honour to the latter. On this day he requests the tea-houses or brothels with whom he is particularly friendly to recommend him to guests, and the latter are under a species of moral obligation to assist the beginner in this matter. In the “_Dōbō Go-yen_” (洞房語園) it is stated that men who entertained parties of persons, under engagement by guests, were called _taikomochi_ (大鼓持 = a drum-holder). In the days of Ōta Nobunaga there lived in the city of Kyōto a man named Jige Yazaemon who was an expert player on the drum, and whenever he was called into the presence of notables to give a performance he used to beat the instrument while it was being held by one of his pupils, he himself being seated on a drum-shaped tub. Among his pupils was one named Idayū who was skilled in the act of holding the drum, and who was a great favorite of his master Yazaemon. * * * For this reason, parties wishing to engage Yazaemon used to request his performance through Idayū. This state of things gave umbrage to other pupils of Yazaemon, so they spoke of him contemptuously as “that _taiko-mochi_” (drum-bearer). From that time, persons who endeavoured to curry favour by flattery began to be spoken of as “_taiko-mochi_” until the word become almost equivalent to “sycophant.” Yazaemon was the founder of the “_Kwanzé_” school of drum-beating, and in consideration of his fame in this line he was allowed to sit even in the presence of high dignitaries. In the “_I-hon Kō-i_” (異本考異) portion of the “_Dōbō Go-yen_” (洞房語園) it is stated that the origin of the name _taiko-mochi_ is as above related, and that to match this title prodigals (_hōtō-mono_ = a dissolute person) were called _dora-uchi_ (鉦打 = bell/gong strikers). Of late years, entertainers of guests without special accomplishments have been termed “_no-daiko_” (“field-drums” or “rustic drums”) and this name was apparently given them as a term of contempt. Nowadays, _geisha_ of both sexes have come into existence and assist in the entertainment of guests and courtesans just like the _taiko_. In ancient times _taiko-mochi_ were known as _taiko-shu_. The origin of the _hōkan_ in the Yoshiwara may be traced to olden times. The “_Kuruwa Roppō_” (廓六法) says:—“_Taiko Naoyuki ga kuro no haori ni tate yotsume no mon-tsuki taru wo kite dote-bushi utōte uwate-sase ageya no sashi-gami ikutsu mo mochi, un-un_” (Taiko Naoyuki was walking along singing a song known as “_dote-bushi_.” He was wearing a black haori with a “_yotsume_” crest dyed upon it, and was carrying _sashi-gami_ from _ageya_ [to various courtesans]). This refers to the state of a _taiko-mochi_ being sent round by _ageya_ to call women from brothels. Again it says:—“_Taiko-mochi Naoyuki wa Shōji no mon wo onore no mon to su_ * * * (_Taiko-mochi_ Naoyuki appropriated to his own use the crest of Shōji (Jinyemon)) * * * _mon dokoro made o-ashi ni nitari_ (even his crest resembled cash). These statements show that this particular _taikomochi_ was greatly liked by the founder of the Yoshiwara—Shōji Jinyemon—but from the tone of the language employed we may infer that even in those days the profession was looked down upon as a mean one. About the era of Kwambun (1661–1672) _taikomochi_ came into existence in the Moto-Yoshiwara, and Naoyuki was the most popular of _hōkan_ at that period. In the era of Manji (1658–1660) Kutsuno Jiroyemon was the best known man, while in the era of Genroku (1688–1703) Higeno Mukyū, Bōzu Kohei, and Nishuban Kichibei were favourites. The last two were really actors, but they occasionally entered the Yoshiwara in the capacity of _taikomochi_, and the fact that they were patronized by Kinokuni-ya Bunzaemon is mentioned in different books. About the Meiwa era (1764–1771) a _taikomochi_ named _Ippyō_ was very famous. (It was to the house of this Ippyō that Hiraga Kyūhei went for the purpose of meeting the courtesan Hinadzuru).

Sometimes the _hōkan_ were called “_kami_” owing to the fact that among the regular attendants of Kinokuni-ya Bunzaemon was a man named Kamiyui Chōshichi, a hairdresser by profession, who excelled in dancing the _gaki-mai_ (hungry devils’ dance) to the accompaniment of tunes which he whistled, and who was a great favourite with the Yoshiwara women. This individual, being a barber, was called “_kami_” (contraction of _kami-yui_ = a hair-dresser) which of course was written 髮 (“hair”) but after a time the word was corrupted into _kami_ (神 = a god) and perhaps this was why the name of _massha_ (末社 a “small shrine”) was applied to the attendants of wealthy men and now is used colloquially to mean a “jester” or “buffoon.” The _hōkan_ of the Yoshiwara is considered as below the female _geisha_ in rank. In former times they lived outside the _kuruwa_ and seldom made buffoonery their sole profession, but in the era of Meiwa (1764–1771) and Anyei (1772–1780) they gradually moved into the enclosure, licenses being granted to them by Shōji Jinyemon in which they were described as “_otoko-geisha_” (male _geisha_). By the 7th year of An-yei (1778) their number had reached twenty and they were recognized as a regular class of professionals. Since the establishment of the _kemban-sho_ in the 8th year of the same era (1779) the _geisha_ of both sexes were brought under its management, but so far as the _hōkan_ were concerned the Government only knew and registered them as _dote-ninsoku_ (embankment coolies) or _suibo-kata_ (coolies provided to guard against flood) so the social status of these men may well be imagined. [At Fukagawa they were officially known as _amma_ (shampooers), at Shinagawa as _tsuye-barai_ (tipstaffs), at Naitō Shinjuku as _kera-bori_ (insect-diggers)].

[Illustration: _Geisha_, _Hōkan_, and Guest.—Period 1800.]

Since the Bunkwa and Bunsei (1804–1839) eras the singers of _Katō-bushi_ and _Itchū-bushi_ songs came to attend guests as _hōkan_. When called by notables or _samurai_ they wore _hakama_, and, while entertaining the guests with various amusements, acted with civility, but in the presence of traders they discarded the _hakama_. Generally speaking these men were well versed in deportment and various accomplishments, and, as they were fit to move in the best society, they were often engaged by poetasters, dilettantes, lovers of art and letters, and wealthy people, more as friends and companions than as the mere mercenaries they are at present. Indeed they were such highly educated and accomplished men in so many respects that persons of higher social standing were in no wise ashamed to have them for intimate acquaintances. At present the _hōkan_ are looked down upon as belonging to a mean profession because they practice it as their sole means of earning a livelihood, whereas, in former times, it was individual taste rather than necessity which attracted persons to engage in this vocation. In order to make both ends meet, the latter-day _hōkan_ grovel before and toady to their guests, and thus they have forfeited all title to the respect of the public. The story of the visit made to the Yoshiwara by Hōichi may be read in the light of revelations by one who was thoroughly familiar with the quarter. In the Bunkwa (1804–1817) and Bunsei (1818–1829) eras the hair of the _hōkan_ was dressed in a style known as “_mame-honda_” (豆本田) and in the era of Tempō (1830–1843) in the “_ko-icho_” (小銀杏) style.

[Illustration: “_Mame-Honda_” style of dressing hair.]

Gradually the _hōkan_ have deteriorated, but the men themselves are not solely to blame, for had their guests been respectable people, and punctilious sticklers for etiquette, these entertainers would have been compelled to maintain a high standard as regarded accomplishments and to have conducted themselves in a decorous manner. The trouble first arose through permitting laxity in the manner of dress and allowing the men to appear without _hakama_ in the presence of guests: as soon as an inch was granted an ell was claimed, and so matters drifted on until the _hōkan_ had sunk down to the very low social status they occupy nowadays. In an Oriental country, at any rate, if you permit any impropriety or breach of etiquette in silence the result will always be far-reaching and disastrous! In the pre-Restoration days, the fee (_gyokudai_) of a _hōkan_ was 1 _ryō_ (about 10 _Yen_) for 4 hours (from 6 to 10 p.m.) and out of this 500 _mon_ (50 _sen_) was deducted by the _kemban_ (see that heading) as commission. In order to evade necessity of paying a commission to the _kemban_, _hōkan_ were in the habit of promenading the quarter in the hope of catching sight of guests whom they might happen to know, and of thus being engaged without the intervention of the registry office. This was known as “_oka-dzuri_” (岡釣り = land-fishing), and although the practice was known to the _kemban_ that office simply winked at it. The present price of the _hōkan’s_ services is 10 _sen_ per joss-stick, and generally he receives a gratuity of from 50 _sen_ to 1 _Yen_ (from these payments certain small squeezes are levied by the _kemban_ and the tea-house). There are now two classes of _hōkan_, one called _jimae_ and the other _kakae_: members of the former (_jimae_) carry on their profession independently, while those of the latter (_kakae_) live in the houses of their masters and in return for board, and the loan of professional clothes, divide their earnings with their _padrones_. In fact the system is identical with the women _geisha_ system. Among themselves they use many slangy expressions such as “_O Chaya San_” (instead of “_hikite-jaya_”). “_Nesan_” (instead of _geisha_: this word is only used in reference to the older women, the rest being designated by their own proper names), doing to a party by engagement is called “_o zashiki_” (instead of _kyaku no seki ye deru_); a brothel keeper’s private room “_Go nai-sho_” (instead of _rō-shu no kyo-shitsu_); courtesans “_oiran_” (instead of _shōgi_); etc.; etc. In the Yoshiwara the public women are supposed to occupy the first position as leaders of society, so they are never spoken of as _jōro_ or _shōgi_ by any professional men and women, but called by the more flowery and euphemistic name of _oiran_.[26] Any song in which the words “_Yoshiwara jōro-shū_ (or _shōgi_)” occurs is sung; altered to “_Yoshiwara oiran_,” thus softening the expression and making the sound more agreeable and less offensive to the courtesans themselves. They also call a courtesan’s room “_oiran no o zashiki_” (the august room of the _oiran_ instead of “_shōgi no zashiki_ (courtesan’s room)). _Shinzō_, tea—house maids, etc., are spoken of by their respective names, and generally speaking, the same is the case with female _geisha_.

As female _geisha_ are also controlled by the _kemban-sho_, their _samisen_ boxes are placed out in a row at the office, each box bearing a paper label on which its owner’s name is written in large letters. Only the Naka-no-chō _geisha_ are registered in this establishment, and it takes no cognizance of _moguri geisha_ (a _geisha_ who carries on her profession clandestinely) or private _geisha_ kept in smaller houses. In summoning a _geisha_, tea-houses send a maid-servant and brothels a _wakaimono_ (man servant) to the registry office, and this messenger calls out—“_⸺ san ⸺ _oiran_ no o zashiki desu_” (or translated freely “Miss ⸺ is wanted by guests in Miss ⸺’s apartments”). So thoroughly do the clerks in the _kemban-sho_ know their business that no further conversation takes place, and the _geisha_ is sent out forthwith: in most cases the clerks do not even enquire from whence the messenger has come as they generally are quick to recognize his or her identity, and at night a glance at the lantern of the applicant (which always bears a name or device) shows them the house to which the _geisha_ is to proceed. If the _geisha_ thus called has already been engaged, or is unable to attend to the call on account of sickness or other cause, an answer is given to that effect. (In the latter case a toothpick is stuck in the _samisen_ box to show that the _geisha_ is not able to visit her guests). The servants of the _kemban-sho_ (_kemban no ko-mono_) are employed in carrying the _geisha’s samisen_ wherever she goes. When a _geisha_ is about to make her _début_ she goes the round of tea-houses and brothels, accompanied by her employer (_kakae-nushi_) and comrades, distributing to each house towels or _saké_-cups inscribed with her name. These calls are made by way of introduction and to solicit patronage (_aiko wo tanomi_) and (as is the case with a new _hōkan_) the larger the number of friends who are present on this occasion the greater the honour to the _geisha_. The “_shin-gao_” (new-face), as she is called, invariably wears on the day of her _début_ garments made of silk crêpe (_chirimen_) dyed with three white crests on each of them. Her hair is dressed in the “_shimada_” style, her _obi_ (girdle) tied in a bow called “_taiko-musubi_,” and when she walks she turns back the skirt of her dress a little so as to allow a glimpse of her exquisite crêpe petticoat (_naga-jiban_) beneath. In case of the debutante being an _o shaku_ (a young girl training to become a regular _geisha_) the style of her dress is left to her own choice, and on the day of her introduction she is called by some guest in accordance with previous arrangements made through a tea-house or brothel. If the young _geisha_ has no engagement on this first night of her professional life it is considered as a great disgrace to her employer. It is a custom for the Yoshiwara _geisha_ not to wear clothes bearing crests, except during the time of the New Year’s festivities and other time-honoured holidays and festivals, but to dress themselves in plain striped stuffs. On the “crest days” (紋日 = _mom-bi_. These are the _Go-sekku_ or five national holidays, _tori-no-machi_, etc.) _geisha_ are generally engaged, by previous appointment, by tea-houses, brothels, or by the request of some guests, and they therefore stop, during the proper hours, in the houses where they have been engaged, even though there be no guests to attend to. [On these particular days they don their crested garments for the nonce.] Should the _geisha_ fail to keep her appointment, or not remain at her post during the regular time in accordance with established rules, she will be scolded by not only _kemban_ but by the tea-houses and brothels, and it will be said about her:—“_Zuibun tare San wa zubora da ne_!” or _shitsurei wo shiranai_” (“Miss So and So is very neglectful isn’t she?” or “She has no sense of propriety or courtesy”).

[Illustration: _Shimada_ style of coiffure.]