Part 8

Therefore no payment shall be demanded from prostitutes or singing girls for any moneys lent or debts due and in arrear hitherto, but it is provided that as regards transactions subsequent to the 2nd day of the present month, such prohibition ceases.

Persons who for money considerations cause girls to become prostitutes and singing girls under the pretext that such girls are their adopted daughters, are actually trafficking in human bodies, and will hereafter be severely dealt with.”

[Since then, detailed regulations have been established relating to the profession of prostitutes and are still in operation]. The losses sustained by the brothel-keepers at the time of this wholesale liberation of women are said to have been simply enormous. The “_Tōkyō-Kwaika Hanjō-shi_” (東京開化繁昌誌) has the following under the caption of “_Liberation of Courtesans_”:—“In the winter of 1872, all the prostitutes and _geisha_ who had been engaged in the brothels and inns throughout the country were unconditionally set free. * * * * * Thousands of wretched women (whose lives might be compared to those of birds cooped up in cages) having been suddenly liberated, the confusion caused by the crowds of delighted parents and daughters who thronged the prostitute quarters beggars description. * * * * * Notwithstanding the general rejoicing, owing to being in debt, or to other circumstances, a large number of these unfortunates were compelled to apply for new licenses and to continue their calling in the brothels which were now re-named _kashi-zashiki_ (貸座敷 = a house with rooms to let).” From the above remarks the actual condition of affairs at the time may well be imagined.

The old fashioned style of _zegen_ (procurer) have now disappeared, and most of the women desirous of becoming courtesans are hired through _yatoinin-kuchi-ire-jo_ (Registry offices for persons seeking situations). By law these registry offices are forbidden to negotiate such transactions, but it is well known that this prohibition cannot be enforced in practice. The brothel-keeper, or his substitute, attends to the engaging of women, and is always on the look out for “bargains.” In the same manner that vultures swoop down to feast on the dead bodies of soldiers after a sanguinary battle, so these rascally fellows turn the misfortunes of others to their own profit by visiting localities which have been overtaken by terrible natural calamity. Earthquakes, fires, floods, and bad crops are the natural allies, of the brothel-keepers, as is proved by actual statistics. For instance, out of the present 3,000 inmates of the Yoshiwara fully 40 per cent. are natives of Gifu and Aichi Prefectures, and we know quite well that these localities have suffered severely from earthquakes, floods, and bad seasons of late years. It is said that when a particular district is visited by some serious misfortune the various brothel-keepers proceed to the spot in order to see what game they can bag at cheap rates.

The Dress of Courtesans.

Nowadays there is no fixed rule as to the dress of these women, and they dress themselves in accordance with the wishes of the brothel-keepers or according to the dictates their own taste. Thus we find some of the modern courtesans dressed in gold or silver embroidered brocades after the fashion of _oiran_ of bygone days, others are clad in gaudy red crêpe (_hi-jirimen_) with embroidered collars, and wear gigantic satin sashes (_obi_) tied in front, while others again try and make themselves look younger and prettier by wearing _yūzen_ stuff (generally silk crêpe decorated with various beautiful figures) purple satin collars and _maki-obi_ (a narrow sash wound round and round the waist: this sash is not tied into a bow but the end is merely tucked in to hold it in place). Other women wear plain crested clothes, or imitate the style of _geisha_ (singing girls) or of Court ladies, and others even go so far as to ape the (save the mark!) European style! In low-class houses a long loose robe (_shikake_) of striped stuff and an under garment (_naga-juban_) of mousseline (_merensu_) compose the whole stock of the wardrobe of a prostitute. At present a long loose robe (_shikake_) of black colour is only worn by the chief courtesans (_o shoku kabu_) of the best houses. Compared with the luxurious costumes of former years, the present holiday clothes of the women only correspond in quality to those of the ordinary every-day garments worn by their predecessors: from this statement the comparatively inferior nature of the present costumes may be inferred. It is the custom of prostitutes nowadays to wear clothes of striped material (_shima-mono_) when they are in their own rooms with intimate guests. In the _ō mise_ (best house) after her introduction (_hikitsuke_) to a strange guest (_shokwai no kyaku_) the servants cry “_o meshi-kae_” (honourable change of garments), and immediately the courtesan goes to her room, changes her clothes, returns clad in a dress made of some figured material (_moyō mono_), and waits on the visitor during the feasting and wine-bibbing which follows. At the time of “_o hiké_” (honourable retirement, i.e.—the time to go to bed) she again changes her clothes for a costume of striped stuff. In the medium and lower class houses the women only change their dress once, and the material employed in their wearing apparel is exclusively crêpe (_chirimen_).

With regard to the sumptuary regulations relative to restrictions on the dress of prostitutes, among the five items of the notification given to Shōji Jinyemon by Honda Lord of Sado in the 3rd year of Genna (1617) it was provided that “prostitutes are forbidden to wear clothes with gold and silver embroidery on them; they are to wear ordinary dyed stuffs.” This policy of enforcing simplicity of dress was adopted by the authorities at the time when the establishment of the old (Moto) Yoshiwara was permitted, and the courtesans therefore used to wear either plain _kenchū_ (pongee?) or striped clothes: their _obi_ (sashes) were broader than those of ordinary women, but never exceeded 4 _sun_ (if this is cloth measure it will equal 6 inches English) whereas in those times the usual _obi_ did not exceed 2 _sun_ (say 3 inches English) in width. The sleeves also were much shorter at that time, but later on they were gradually made longer as the sumptuary laws fell into desuetude. Since the founding of the Shin Yoshiwara luxurious habits of dress gradually spread in the quarter, and bye and bye extravagance was carried to its utmost point. In the Kwambun and Empō eras (1661–1680) the _tayū_ usually wore _rinzu_ (figured satin) or _habutaye_ (a superior kind of pongee) dresses. In the “_Dōbō Go-en_” (洞房語園) we read about the narrative of an old gentleman named _Muramatsu Shō-a_ who said that in the era of Kwambun (1661–1672) a certain person met the _Tayū_ Takao of Mi-ura-ya Dō-an’s house in Kyōmachi and saw one of her new costumes: the lining was of pale blue silk, the face of the dress black _habutae_, and the whole garment so made as to be suitable for a man’s wear. In the “_Saikaku Ichida i-Otoko_” (西鶴一代男), published in the 2nd year of Tenna (1682) it is mentioned that the clothes of some women were made of _shiro rinzu_ (white figured satin) for underwear, over which were worn two dresses, the under one of scarlet _kanoko_ (material dyed with minute white spots) and the upper one of pale-blue _Hachijo_-silk. These clothes were used when the wearers attended to parties of guests, the taste of the period demanding stuffs costly as regarded price but plain and simple in appearance as compared with the brilliant gold and silver embroideries and the velvets used in later days. In the Teikyō (1684–1687) and Genroku (1688–1703) periods it had become a general custom to use plain purple materials (_murasaki-mu-ji_) for the _shikake_ (cloak). In the Hōyei era (1704–1710)—fifty years after the opening of the Shin Yoshiwara—magnificent embroidered clothes came into fashion, and in the era of Gembun (1736–1740), some thirty-years later, a courtesan named Shigasaki introduced the custom of wearing a broad _obi_ (sash) she herself having worn one 33″ (_kujira_ 2 _shaku_ 2 _sun_) in width (_sic_). This sash was worn and tied in a style known as “_Karuta-musubi_,” and the woman who first set the fashion was known as “_Obi Shigasaki_” or “Obi-goku-mon.” (The first means simply “Sash” Shigasaki: the second “Sash-exposing-a-criminal’s head.” The latter has a joking reference to the ancient custom of exposing the severed head of an executed criminal to public gaze: the sash was supposed to be so broad that only the head was visible above it.) Since then, a luxurious and extravagant tendency in the dress of courtesans manifested itself so strongly that in the 7th year of Kwansei (1795) the authorities again considered it necessary to impose restrictions on this rage for idle show: it was therefore announced that dresses should be of plain stuffs (according to ancient custom) and that _date-mon_ (伊達紋 ornamental crests) should not exceed 6 _sun_ (if ordinary measure = 7.1586 inches: if “_kujira_”—cloth measure—about 9 inches) in diameter. The tide of luxury, however, could no more be stemmed by a mere notification than could the waters of the ocean be dammed by a man’s hand, and in the eras of An-ei and Bunsei (1772–1829) the zenith of barbaric splendour was attained. Costumes of crêpe, velvet, figured satin, plain satin, _habutae_, etc., were freely used, while _obi_ (sashes) were made of velvet, gold-brocade, silk-brocade, damask, etc. As to colours and patterns, these were chosen according to the taste of the individual courtesan and were by no means uniform. In a book called “_Nishiki-no-Ura_” (錦ノ裏 “Behind the Brocades”) published in the 3rd year of Kwansei (1791) a very elaborate description of an elegant costume of the time is given. The upper garment consisted of white _nanako_ dyed with purple clouds among which peeped out some tasteful pattern: every here and there were flowers embroidered in silk and finished by handpainting representing in vivid colours the four seasons, while the crest consisted of a wistaria flower sewn upon the dress with purple silk-thread. The underwear consisted of a figured satin garment bordered with plain brown _Hachijō_ silk and embroidered with the same pattern in coloured silk, and of a lower girdle of claret-coloured figured satin lined with bright scarlet silk crêpe. As an instance of the beauty and costliness of the night-gown of a certain young miss, the “_Keisei-kai Shi-ju-hat-te_” (“Forty-eight methods of buying courtesans”) mentions:—“The garment was of scarlet crêpe, trimmed with purple figured satin and edged with gold and silver threads so as to give the effect of waves breaking upon the sea-shore, while her night-sash was of _kabe-chōro_ (wrinkled silk.”) In the eras of Bunkwa and Bunsei (1804–1829) the costumes were simply gorgeous. The pattern of the _shikake_ or cloak generally represented a cloud with lightning and a golden dragon, or rocks with peonies, and a tiger chasing a butterfly; the embroidery being silver and gold. That the dresses of the “_jōro_” of these later periods were gorgeous, the paintings of Utamaro, Eizan, Kunisada, and others, clearly show. It appears that in those times there was a fixed rule in every brothel appointing the make, stuff, colour, and pattern of the dresses to be worn by the respective grades of women, and that this rule was strictly adhered to. No courtesan, therefore, was permitted to wear a dress unsuitable to her particular rank in the brothel, even though she could afford it, but nowadays the girls are at liberty to wear any clothes they choose and can pay for, especially if they are popular and beautiful women. There are various arrangements made as to defraying the expenses of dress in different brothels, and the clothes of modern _shōgi_ are divided into _awase_ (worn in May, June and October), _hitoemono_ (worn in July, August and September), _wata-ire_ worn (November to April,) etc., according to the season, in the same way as with ordinary persons.

Coiffures of the Yūjo.

Although it is remarked in the “Yoshiwara Taizen” (吉原大全) “their hair even now is dressed in the ‘Hyōgo’ style after the fashion of the Hyōgo-ya brothel at Ōhashi, Yanagi-chō,” yet when we find no coiffure of this style in the pictures painted prior to the Tenna era (1681–1683) the correctness of the assertion may be doubted. Judging from ancient pictures of the “Uki-yo-e” school, it would appear that up to the era of Keichō (1594–1614) courtesans wore their hair hanging down the back, and that even in the era of Kwan-ei (1624–1643) they merely gathered it up on the top of the head in a very simple manner. It is mentioned in various books that in the era of Kwam-bun (1661–1672) a _tayū_ named Katsuyama, living in the Yamamoto-ya in the Shin Yoshiwara, devised a method of coiffure, called after her, “_Katsuyama-magé_.” In the “_Dōbō Go-en_” (洞房語園) it says:—

“About the period of Jō-o (1652–1654) or Meireki (1655–1657) there was a _tayū_ named Katsuyama in the house of Yamamoto Hōjun of Shimmachi in the Shin Yoshiwara. Formerly she had been a _furo-onna_ (“bath-woman:” really an unlicensed prostitute) in a bath-house (known as ‘_Ki-no-kuni-buro_’), kept by a man called Ichibei, at Kanda in front of the Tango-den (neighbourhood of the present Kiji-chō). When the _furo-ya_ (bath-houses) were abolished this woman returned to her parent’s house, but appeared again as a _jōro_ in the house of Hōjun. Her hair was bound up in one ring and tied with white _moto-yui_ (cue cord) and this style still exists under the name of _Katsuyama-magé_, etc., etc.”

[Illustration: Types of Courtesans’ Coiffures.]

[The _Maru-magé_ of later years is believed to have been evolved from the _Katsu-yama-magé_.] In the era of Tenna (1681–1683) _Hyōgo-magé_ and _Kaisei-shimada_ came into vogue. The _Shimada-magé_ is said to have originated in the era of Kwan-ei (1624–1643) with a dancing-girl of Kyōto named Shimada Jinsuke. The _Keisei-shimada_ resembled the present _Shimada_ in nearly every respect. In the era of An-ei (1772–1780) the _Kinshōjo-bin_, _Utsusemi-mage_, _Nakabin_, _Hishidzuto_, _Yoko-hyōgo_, _Yamagata-tori-bin_, _Sogidzuto-musubi_, _Tate-hyōgo_, and other styles, came into fashion, and later the _Susuki-bin_, _Otoshi-barake_, _Tsutogiri_, _Sumi-Shimada_, _Adzuma-bin_, _Kainade-dzuto_, _Chasen-magé_, _Tsumi-hyōgo_, etc., came into vogue. By the era of Bunsei (1818–1829), however, of these only the _Tate-hyōgo_, _Shimada_, and a few others had survived. [At present the hair of the red bear (_sha-guma_) is used to form a tuft of false hair over which to spread the natural hair in making up a _Tate-hyōgo_ coiffure: sometimes, although very rarely, it is used in dressing the hair in _Shimada_ style]. It appears that in the Tenna and Teikyō eras (1681–1687) only vegetable oil was used in dressing the hair, and that _bin-tsuké_ (pomatum) had not yet come into use. In the “_Go-nichi Mukashi-monogatari_” (後日昔物語) the statement of an old man born in the 3rd year of Empō (1675) is quoted to the effect that:—

“A certain old gentleman, who was ten years older than my father, traversing an assertion by the latter that the hair of courtesans was hardened by too much oil, said that such was not the case in former years when the girls rubbed a little thin oil on their heads: he also said that the hair remained in its natural state and did not show any greasiness of appearance. The old pictures substantiate this assertion.”

[Illustration: Types of Courtesans’ Coiffures.]

Moreover, in those days of comparative simplicity, the women used to dress their own hair. The “_Hyōkwa Mampitsu_” (萍花漫筆) remarks:—

“In ancient times it was considered a disgrace for courtesans not to dress their hair themselves, but of course it must be recollected that there were no professional female hairdressers at that period; they were of later origin. * * * In an old document, said to be a certificate of a _yūjo_ belonging to the house of Idzumi Kankichi of Edo-chō, the following sentence occurs:—_This woman having been taught by her parents how to dress her hair, and how to write, no concern need be felt on these points._ There is a considerable difference between this certificate and one of the present day.”

According to the “_Kumono-Itomaki_” (蜘蛛糸卷) written by Kyōzan, a well-known writer, the professional female hair dresser came into existence at the end of An-ei (1772–1780) and therefore it was undoubtedly later than that period before the courtesans used to have their hair dressed by regular experts.

Referring to the style of hair dressing, the same authority says:—

“For about 20 years after the Temmei (1781–1788) era until the era of Bunkwa (1804–1817) the style of hair-dressing of the _oiran_ was generally the _Tsumi-hyōgo_, but of late years this has ceased to exist. The size of hair-pins, on the other hand, has become larger than in former days, for in the Temmei period they were very small and light and no person placed the present artificial tortoise-shell (_bazu_) ornaments on her head. As regards the style of hair-dressing, the _karawa_, _hyōgo_, _shimada_, _marumagé_ (_katsuyama-mage_) and _shiitake_, came into vogue in the order named.”

For further information on the styles of hair-dressing, the reader is recommended to refer to the _Reki-sei-oniia-sōkō_ (歷世女裝考). The woodcuts inserted in this section illustrate the principal styles of _coiffures_ which have been adopted in the Yoshiwara from time to time.

[Illustration: Types of Kamuro Coiffures.]

Rooms of the Yūjo.

There is but little difference between the modern apartments (_kyo-shitsu_) of the _yūjo_ and those of ancient times. The room in which a _yūjo_ receives her guests is called the “_zashiki_,” and generally contains about eight mats (_hachi-jō-jiki_), while the adjoining room (_tsugi no ma_) is a smaller private apartment containing perhaps three or four mats. Some women have a third room placed at their disposal in addition, but this consideration is mostly granted to the “_o shoku_” exclusively.

[Illustration: A Rainy Day in the Yoshiwara—within and without.]

Typical _zashiki_ are cosy rooms fitted with the usual _toko-no-ma_ (alcove) and _chigai-dana_ (a recess with two shelves, one a little lower than the other, and each only reaching about half way across the width of the wall-space involved); in the former hang either picture or specimens of calligraphy (not always genuine!) by such noted artists as Chosanshū, Tesshū, Zeshin, Keishū, and others.[27] The rooms are prettily decorated, and furnished with cut flowers arranged in vases of Kutani porcelain; these flowers are changed according to the season. There will also be found musical instruments such as the _koto_ (harp), _samisen_ (banjo), _gekkin_ (guitar), _ni-genkin_ (a two-stringed musical instrument), etc.; numbers of sundry knicknacks, such as a shelf-ornament in the shape of a rabbit, made of imitation crystal, which is perched on a tiny cushion of daintily dyed crêpe; a hanging clock, a handsome mirror, a framed oil-painting; a small library of novels, magazines, theatrical notices, playbills, and other light reading matter designed to beguile the tedium of guests. On the _chigai-dana_ (recess fitted with shelves by the side of the toko-no-ma) rests a deep lacquered tray (known as a _midare-bako_, in which are put the guests’ garments) and other objects, while the room invariably contains a clothes-horse (_emon-kaké_) and a six-fold screen (_roku-mai-ori-no-byōbu_). In the private apartment is a shelf on which the _yūjo’s yagu_ (bed-clothes) are placed, and this is covered with a bright green _furoshiki_ on which is dyed the ornamental figure of a vine (_karakusa_) and the name of the girl to whom it belongs. Below this _yagu-dana_ (shelf) is a chest of drawers containing the wardrobe of the _yūjo_, while the other articles of furniture consist of a _naga-hibachi_ (oblong brazier) on which is placed a kettle (_tetsu-bin_) a cupboard with a glass door (_garasu-do-iri no nedzumi-irazu_) within which _yō-cha-ki_ (tea things) and _inshoku-no-gu_ (eating and drinking utensils) are neatly arranged, a mirror-stand (_kyō-dai_), a cup used for gargling (_ugai-jawan_) a _mimi-darai_ (a metallic or lacquer tub with a pair of handles or ears used for toilet purposes), cushions (_zabuton_), and various other paraphernalia of a courtesan’s room. The _zashiki_ (rooms) are rented from the brothel-keeper by the _yūjo_, and are furnished at their own expense. The above is a description of a first-class house, and in the lower-grade establishments a girl (there called a _heya-mochi_) only possesses one room, or, at the most two rooms. In the better houses the rooms are known as _zashiki_ (a “parlour”) and in the lower-class houses as merely _heya_ (“room”). In ancient days the _shinzō_ had no rooms of their own, and it was the custom for all of them to sleep in the _ane-jōro’s_ room. There are also rooms called _myōdai-beya_ (substitute rooms) which may be used by any of the women when they have more than one guest at the same time. In the lowest houses several guests and their girls are packed up together in one room, each couple being only sheltered from the gaze of the others by screens. This is known as _wari-doko_ (割床 = “divided bed.”) When a _yūjo_ has not sufficient means to defray the expenses of furnishing and decorating her room, it is paid for in instalments, but in some cases an intimate guest will assist her by paying these expenses himself. The expenses of repairs to her _zashiki_ and of the daily cleaning are also borne by the girl; the _sōji no chingin_ (wage for cleaning) is paid direct to the _wakai-mono_ (man-servant) who performs this office. The expenses which _yūjo_ have to bear in this direction are very heavy, and according to the official rules issued by the authorities in the 7th year of Kwansei (1795) the girls were exempted from these burdens; but an ancient custom is not easily broken up, and the evil, being by no means thoroughly eradicated, has survived to these days. Unfortunately, in this profession, a pernicious custom exists of spending money lavishly, and should the _yūjo_ show herself mean or stingy (or even moderately prudent) in her expenditure, this will cause her unpopularity, raise up a host of enemies, and make trouble for her in a hundred different ways; thus old customs cling to the Yoshiwara and defy the many earnest efforts made to root them out. It would appear that at the time when _yūjo_ used to receive guests in _age-ya_ there was no need to pay much attention to beautifying their own rooms, but as a matter of fact they were made very pretty because the _ki-jin_ (貴人 = “nobles” and “honourable persons”) would not enter _age-ya_ and came direct to the brothels. The regular style of _futon_ (mattress) used was a _kagami-buton_ (i.e.—a _futon_ the border of which is made of stuff different to that of the centre, making it look like a mirror in it’s frame). In the best houses the borders were made of black velvet and the panels of red crêpe. Three of such _futon_ (mattresses) were laid one upon the other and the pile formed a nice soft bed, but in the lower houses only two were used and these were made of inferior material such as _merensu_ (_mousseline de laine_) or _kanakin_ (calico): in the very lowest establishments only one was provided. The night gowns also varied in richness according to the class of the house. By the official rules issued in the 7th year of Kwansei (1795) fabrics mixed with gold or silver threads, silk brocades, or velvets, were forbidden to be used in making futon, and the number used was limited to three: these sumptuary regulations soon became a dead letter and utterly failed to effectively check the luxurious habits of the time. During the Meiwa era (1746–1771) a woman named Hinadzuru, belonging to the Chōji-ya, used a pile of five _futon_ made of silk brocade, but this was quite unprecedented. When _yūjo_ used to be called to visit guests in an _age-ya_ their night-clothes were carried with them on each and every occasion: these earlier _futon_, etc., are supposed to have been greatly inferior to the costly ones that came into fashion at a later period.

[Illustration: Courtesan making her Toilette.