Part 9

Courtesan Composing Letters to their Guests.]

Tsumi-yagu no koto.

(_The piling up and exhibition of bedding._)

In the “_Ume-no-haru_” (by Kiyomoto) are the words:—

A pile of as many as twenty of the rich floral brocade _futon_ and bedding which share the couch of Benten San.[28]

[Illustration: Arranging “_Tsumi-yagu_” (Exhibition of Bed-clothes) in the Kiōwa period (1801 to 1803).(_After the Picture by Kitagawa Utamaro._)]

This passage refers to a custom known as “_tsumi-yagu_” which forms one of the leading features of the gay quarter: there are several songs and stanzas of poetry extant in which the splendid spectacle of a pile of magnificent brocade night-clothes and bedding is rapturously dilated upon in amorous language. Vanity is an inherent attribute of the fair sex, and among the class of women to whom the _yūjo_ belong “_the rage for competition, show and style_” has no limits, consequently they all vie with each other in the attempt to outshine their sisters in the matter of obtaining, and placing on exhibition, piles of gorgeous bedding. It is a matter of professional pride for the girls to make as lavish a display as possible, and in former days, when the _go-sekku_ were approaching the _yūjo_ would persuade one of her most intimate guests to undertake the financing of this expensive function, and so well did they play their cards that they often succeeded in inducing their infatuated admirers to disburse several hundred dollars to gratify a passing whim. Nowadays, the holidays known as the _go-sekku_ are not strictly observed, therefore exhibitions of _tsumi-yagu_ are made either at the time of cherry-viewing in the spring, the lantern festival in the autumn, during the first week of the New Year (_matsu-no-uchi_) or at the time of the _tori-no-machi_ (see description under that heading) when the Yoshiwara is most frequented by crowds of sight-seers. Generally speaking, this display of bedding is confined to the _ō-mise_ (best houses) or _chū-mise_ (medium houses), but occasionally the women in smaller houses endeavour to proclaim, by means of _tsumi-yagu_, that all the world does not belong to their prouder sisters in the better-class establishments. As I have previously mentioned, in ancient times gold and embroideries were used in making up this exhibition of bedding, but now damask and crêpe are mostly employed. The present cost (in 1899) of a set of _tsumi-yagu_ is from 100 to 200 yen: by using _yūzen_ crêpe the price may be kept as low as 100 yen, but damask will amount to 200 yen, and if a person is extravagantly inclined there are no limits to the cost. As the _tsumi-yagu_ set would be charged at an exorbitant figure if purchased from an ordinary _gofuku-ten_ (drapery store) they are usually ordered from one of the regular contractors in the Yoshiwara. There is generally a tremendous amount of bargaining done before the price of the _tsumi-yagu_ is finally settled, and it is said that when the negotiations are made by the brothel-keeper, that astute gentleman invariably dovetails into the figure charged a commission of about 20% (twenty per cent.) as an honorarium presented to himself for “valuable services” rendered. A set of _tsumi-yagu_ consists of three _futon_ and a large coverlet or quilt: if it be summer a mosquito net is added, and if it be winter a lighter coverlet. As a rule the colours chosen are very loud indeed: the older women prefer pale-blue for the lining, but the younger girls usually have the coverlets lined with red. The _futon_ are made like a mirror in a frame, the centre panels being of the same colour as the linings of the coverlets: the collars of the latter are made of velvet. On the coverlet is worked in gold thread the crest of the guest who has presented the set as well that of the _yūjo_ who has received it. A small (light) coverlet (_ko-yagu_) is generally wadded with the best _wata_ (cotton wool), but in large coverlets (_ō-yagu_) and _futon_ an inferior quality of wadding is used. When the set is quite completed, it is placed on a stand and exhibited just inside the entrance of the brothel, facing the door-way, so that everybody who passes is bound to see the show: and in order to further attract attention, the _tsumi-yagu_ is labelled with a paper on which is written in bold letters the name of the lucky _yūjo_ who owns it. On the day of this ceremony it is usual for the guest concerned to give a “_sō-bana_” (_a present made to all the_ _inmates of a house_) of 5 yen, and a further sum of 5 yen as “_soba-dai_” (_cost of buckwheat macaroni_) to be partaken of by all the _yūjo_ in the establishment. As it is not considered to be conducive to the good reputation of a woman to continue this exhibition of _tsumi-yagu_ for too great a length of time, there arises the necessity for another ceremony called “_shiki-zome_” (commencing the use of the _yagu_). On this occasion the lady in question plays the part of hostess, and she is bound by custom to entertain the guest who has presented her with the set by giving him a feast and engaging at least a couple of _geisha_ to enliven the proceedings. When a guest undertakes to provide a set of _tsumi-yagu_ for his _innamorata_ he must be prepared to spend on tips, and for various sundries, at least 50 yen over and above the cost of the bedding, and if he makes a _hikite-jaya_ a party to the arrangement this will cost him another 10% (per cent.) commission. An exhibition of _tsumi-yagu_ being considered something to be proud of, women who have no guests rich enough to render them the necessary pecuniary assistance occasionally go so far as to even borrow funds from the brothel-keepers and order a set of bedding for themselves, thus securing a fine advertisement and enhancing their reputation. It however sometimes happens that the girls find themselves unable to refund money thus borrowed, and are therefore compelled to dispose of the bedding they once so earnestly coveted: these circumstances have tended to place a number of second-hand sets of _tsumi-yagu_ on the market, and it is a said that certain women who are vain enough to love empty show, but too poor to afford it, borrow these relics of extravagance on hire and exhibit them to the public gaze! But here let us be merciful and draw a veil over the doings of these unfortunate women, for it would be boorish and unmanly to further expose the weakness of frail humanity. [As to the origin of this custom, it appears that a _kōshi-jōro_ of the Miura-ya (kept by Magosaburō) named Utanami, first introduced it in the era of Kwampō (1741–1743)].

“Sōbana.”

(“_All round “tips.”_)

A “_sōbana_” is a tip by a guest to all the servants of a brothel, and is shared in by the _yarite_, _shinzō_, men-servants, and bath-room attendants. It is usually given on a _mombi_ (crest day: New year’s day, the _go-sekku tori-no-machi_ festival, etc.) and varies in amount according to the class of house: the sums given are regularly classified and divided into amounts of 2-1⁄2, 3, 4, and 5 _Yen_, etc., as the case may be. When _sōbana_ is given, the names of the donor and his lady friend are posted in a prominent place in the house: the larger the number of such posters, the greater is the honour to the woman in question. This custom appears to have been in vogue since ancient times, for the amounts fixed during the Kwansei era (1789–1800) were 3 _ryō_ for a first-class house, 2 _ryō_ for a second-class house, 1 _ryō_ 2 _bu_ for a third-class house, 2 _bu_ for a lower grade establishment. When a _sōbana_ is given, all the servants of the house come up to the room and kneeling down outside thank the guest for his present and clap their hands in unison.

“Shokwai” AND “Mi-tate”

(_First meeting_) AND (_Selection of women._)

[Illustration: Introduction of Courtesans to Guests.]

The “_Zensei Kuruwa Kagami_” (全盛廓鑑) says that in the dusk of the evening, when all is chilly and lonesome, the deep-toned curfew bell of Iriya sends forth a resonant and withal melancholy clang which depresses the spirits and fills the heart with a vague sense of gloomy sadness. Strange as the coincidence may be, just at the very time the solemn sound of the temple bell is reverberating over hill and dale, the women file into their cages (_misé wo haru_) in the brothel quarter, the “_flowers of the Yoshiwara bud and blossom_,” and the whole _yūkwaku_ becomes a scene of vivacious animation. These courtesans (who have practically fallen to the level of being regarded as so much merchandise awaiting buyers) sit for hours exposed to the gaze of the passers-by, decked out in all the splendour of coral and rare tortoise-shell hair-pins stuck around their heads like a saint’s glory, and gorgeous in dresses of silk and gold and silver embroidery, the heavy cost of which weighs them down and forces them still deeper into the “_stream of debt_.” In days of yore it was customary for the women to enter their _misé_ while the “_sugagaki_” was being played and bunches of clog-checks (_gesoku-fuda_ = wooden tickets given to guests in exchange for foot-gear left in charge of attendants at the entrance) were being struck noisily against the floor. Among the _yūjo_ the _o shoku kabu_ (or proud leading beauty of the house) with painted face, rouged lips, and penciled eyebrows, sits lazily smoking her long red bamboo pipe, emitting faint blue rings of tobacco smoke from her mouth, pretending not to see the crowds of people swarming in front of the cage and yet—cat-like—furtively watching their every movement. While the other women are engaged in a whispered conversation about the personal appearance of on-lookers, the _o shoku_ feigns to be absorbed in the perusal of a long espistle supposed to have been received from one of her numerous admirers, and every now and again she artfully allows a smile to irradiate her countenance as a token that she is reading a specially interesting sentence. Such a skilful Jezebel is sure to have some rich guests who keep her liberally supplied with funds: as a rule she will have no lover (_jōrō_ 情郎 = a male paramour: sometimes read as “_ii hito_”) to whom she must give pecuniary assistance, and generally speaking she will avoid _koke-kyaku_ (young and impecunious guests) and _san-jaku-obi_ (low class of loafers) as she would the pest. Rather slender in person, having a good contour of the nose, and possessed of bright eyes, if she cannot be called strictly beautiful she is at least very interesting and attractive. This “Dainty Iniquity” (as Kipling puts it) is always sure to be a perfect actress, and looks irresistibly charming as she talks with her sister _yūjo_ in a whisper or as she gracefully bends her head and covers her face with her sleeves to stifle an apparently spontaneous burst of merry laughter and then quietly flirts with, and encourages, some likely guest who is gazing at her intently through the bars. The above is a rather lengthy description of a _yūjo_ who is expert in the art of twisting men round her little finger and manipulating guests (_kyaku wo nekokasu_) according to the circumstances of the occasion. Those women who are worried by anxiety about private affairs will be seen to conceal their hands within the folds of their dress, to allow their heads to sink deeply into their _eri_ (collar of a dress) in an irregular manner, to every now and then glance round the cage and up at the ceiling, or to otherwise reveal, by their fidgety and impatient demeanour, that they have something unpleasant on their minds. Those who act unreservedly and chat noisily with the other women are assuredly new to the life, and when they become familiar with guests they are unfeignedly sincere in their regard for those they like. The woman who sits out of the row sideways and listens to the ribald songs of the passers-by shows her fickle and forward disposition by treating all as fish who come to her net: she has sympathy with no man but as a matter of business policy and will bestow equal attention on all comers, no matter whether they be good-looking, bad-looking, or jealous as fiends. Those who are blowing the berry of the winter-cherry (_hōzuki_), making paper-frogs as a charm to attract the men for whom they are waiting, practising “_tatami-zan_” (divination by mat-straws) and playing other innocent little games, are generally new arrivals in the house who are willing to please their guests in every possible manner.

[Illustration: Courtesans making their toilettes.]

When a guest wishes to be accommodated with a “temporary wife,” and enters the house to which she belongs, he is led by a _wakai-mono_ to the _hiki-tsuke-zashiki_ (introduction chamber). If he glances round the room he will perhaps find the alcove decorated with a large _kakemono_ (hanging-picture) representing the rising sun and a stork, the ceiling painted with an enormous phœnix, and everything so spick and span that he will wonder whether he is in fairyland. Candles are now lighted, and a black-lacquered tobacco-box brought in. Next a set of three _saké_-cups are produced with which to perform (though nominally) the necessary nuptial ceremony called the “_san-san-ku-do_” in imitation of the custom observed at a real wedding. The girl then appears accompanied by her _shinzō_ who plays the part of a go-between (_nakōdo-yaku_) for the couple by uttering the conventional phrases of “_anata_” and “_konata_” and the unholy “marriage” ceremony is finished. After this the _yūjo_ retires to change her clothes, (_o meshi-kae_) and at the same time the guest is conducted to her apartments where the table is laid ready and a charcoal fire is glowing in an enormous brazier. This bright red, and almost incandescent charcoal fire, always reminds one of the ardent passion of the poor devil of a guest in the next room, who alone and waiting for his partner glows with all the rage of jealousy and intense longing! Food is served in dishes of enormous size, but the net contents of these platters are microscopic, so the “feast” amounts to little more than a mere show and is just sufficiently imposing to warrant being handsomely charged for in the bill under the title of “_On ryōri_” (the august repast). The chopsticks used are new for the occasion and are regular _wari-bashi_ (a stick made of _sugi_ wood with a split at one end, used as chopsticks by splitting it in two) but, alas! they too are soon prostituted to base uses, being used as snuffers to cut candle wicks, and even as tongs for the _hibachi_ of a tenantless room![29]

It is curious to note that when tea-house people offer a _saké_-cup to the _yūjo_ they invariably sit obliquely, partially turning their backs to the guest and never facing him directly. Perhaps this custom unintentionally betrays their secret intention of sitting on the visitor, squeezing him for all he is worth, and then kicking him out! The _yūjo_ herself at the first meeting with a new guest is apt to look askant at the latter and “draw” him by occasionally gossiping about her “sisters-in-vice.” Every now and again one may faintly hear the sound of a pipe being sharply struck against a bamboo spittoon in a neighbouring room: this is probably a signal that your neighbour is lonely and weary of waiting for his sleeping-companion, and you may make up your mind that he is craning his neck forward and straining his ears to catch the sound of her returning footsteps. It is said that a warrior awakens at the jingling of a horse’s bridle-bit, but, under the above circumstances, the sound of a woman’s sandaled feet shuffling down the passage appeals to the drowsy watcher with ten times as much force and braces him up like a powerful tonic. In Japan, however, men do not like to show themselves too “soft,” and when the woman finally slides back the _shōji_ (paper shutter) of the room her guest is almost sure to sham being fast asleep: this is called “_tanuki-neiri_” (badger-sleep). As the hour advances, the crowds of loafers (known as “_hiyakashi_”) in the Yoshiwara gradually disperse and nothing, except the cries of peripatetic macaroni sellers (“_nabeyaki udon_”) and blind shampooers (“_amma-hari_”) and the dismal howling of impish mongrels disturb the stillness of the night; but even when comparative quietness has been restored, the guest’s sleep has been so thoroughly broken that he remains tossing uneasily on his pillow longing for daylight. After a few hours of fitful slumber, which leave the wretched fellow even more fatigued than before, the eastern sky begins to glow with a faint rosy light, and with the dawn of day the great black crows in the neighbourhood awake and fly circling around, cawing loudly as if in mockery and derision. Jaded and exhausted by excess, and played out by reason of his night’s debauch, the poor guest crawls wearily out of bed, feeling as limp as a dish-clout, and as a preparation for his return home proceeds to drag himself to the wash-stand and make his toilet. Oh,! what a face he sees reflected in the water—a drawn, distorted, and haggard face, with pale bloodless lips and sunken bloodshot eyes! And oh! the nausea resulting from undigested food and adulterated _saké_, the agony of “hot coppers,” the racking headache, and the formidable bill—six feet long—which makes one’s hair rise on end! Then the woebegone victim of his own asinine stupidity settles his bill and sneaks away from the presence of the _yūjo_, who comes to bid him farewell with the words—“_o chikai uchi_ ...” (please come again very soon), climbs heavily into a _jinrikisha_ and is whirled away to his own residence, thoroughly agreeing in spirit with the words of the Vulgate:—“_vanitas vanitatum, et omnia vanitas_.”

[Illustration: Interior of a Brothel. 1. Nightwatchman (interior) on his rounds. 2. Time-keeper’s office. 3. _Yūjo_ arranging various matters with the “_yarite_.”]

“I-tsudzuke no koto.”

(_Spending several consecutive days in a brothel._)

The “_Zensei-Kuruwa-Kagami_” (全盛廓鑑) says:—“The act of remaining in a brothel for several days, owing to stress of weather or other cause, is known as _i-tsu-dzuke_.”

“O cha wo hiku” to iū koto.

(“_Tea powdering._”)

It is remarked in the “_Dōbō Go-yen_” (洞房語園) that the term _o-cha wo hiku_, as applied to women of ill-fame who have no guests, is of ancient origin and should be considered as one of the peculiar idiomatic expressions of the Yoshiwara dialect: everywhere in prostitute quarters some special dialect is exclusively used, and this is more especially true of the Yoshiwara of Tōkyō. In the era of Keichō (1596–1614) the servants of the various tea-houses at Uji (near Kyōto) were practically unlicensed courtesans, and were in the habit of carrying on illicit intercourse with guests who patronized their establishments. These women employed their _leisure_ time in pulverizing tea (_o-cha wo hiku_) for the tea-drinking ceremony, and in course of time this expression “_o-cha wo hiku_” came to be applied (as a slang phrase) to a courtesan who had no guests in consequence of her unpopularity. By and bye this phrase was brought up to Tōkyō by natives of Uji and Kyōto and became one of the idiomatic expressions of the Yoshiwara. It is now used throughout the entire Empire.

[Illustration: 居瀆之㘴舖 Guest Detained by “Love and Stress of Weather.” Kiōwa period (1801 to 1803). (_After the Picture by Kitagawa Utamaro._)]

Shiki-zome no soba-burumai no koto.

(_Presentation of buck-wheat macaroni to celebrate the first use of night-clothes._)

It appears to be a universal rule to present _soba_ to all the inmates of the house whenever a _yūjo_ uses her newly-made night-clothes for the first time. This custom is binding on all classes of women from the proud _oiran_ down to the _nagaya-jōro_, but, practically, the lower class women are debarred from making an exhibition of night-clothes (either on their own account or by the assistance of guests) by reason of the expense involved: it may therefore be said that this ceremony is performed by women belonging to first (_ō-misé_) and second-class (_chū-misé_) houses exclusively. Originally this ceremony was only performed when the _tsumi-yagu_ was used for the first time, but later it became a rule that when any new night-clothes began to be used—generally on New Year’s day—buckwheat macaroni was to be presented to the inmates of her house by the _yūjo_ to whom they belonged. This custom, which still survives, is called “_shiki-zome no soba-burumai_.” In the houses of ordinary people the spreading out of bedding and night-clothes in the day time is greatly disliked as unlucky, therefore, when a sick person recovers, the occasion is one of rejoicing and congratulation and is called _toko-agé_ (removal of bed-clothes). In brothels, however, just the reverse idea obtains, the keepers rejoice to see the night-clothes used even in the day-time, their fervent wish being to have the bedding employed as much as possible because it bears an important relation to the prosperity of their “trade.”

In different brothels different devices are adopted for the purpose of determining who shall be considered the “leading lady” of the house (_o shoku_). Some take the number of guests as a standard, others the number of _najimi-kyaku_ (that is “regular guests”) while others adopt the rather disgusting method of fixing the order of precedence according to the total amount of money spent by the guests of the respective women. In first-class establishments no such methods as the above are employed, and the rank of the women is determined by the number and value of their own night-clothes and those given by them to the servants of their own and other houses. The idea may be attributed to the great esteem in which night-clothes are held by both men and women in the Yoshiwara.

[Illustration: Courtesans on their “Rounds” visiting Various Guests at Night. Courtesan entering a Guest’s Room.]

“Shashin-mitate-chō.”

(_Photograph albums for facilitating the selection of women._)

In lower-class houses the women are exhibited after nightfall, when the lamps are lighted, in the long narrow cages of the brothels, where they sit with powdered faces and rouged lips looking for all the world like so many motionless wax figures, and are, to all intents and purposes, set out for sale like ordinary articles of merchandise. Under these conditions, a would-be guest has the opportunity of making his selection very easily, for he has only to indicate the woman he fancies to obtain her company immediately. In the first and second-class houses, however, there is no such thing as a _hari-misé_ (a “dressed shop-front”) and persons who intend to visit them must be introduced by a _hikite jaya_: the selection of the particular girl to be engaged is usually left to the discretion of the mistress of the tea-house, who of course does her best to please her patrons by choosing for them women likely to prove satisfactory.

Until about 1882 (15th or 16th year of Meiji) the photographs of all the inmates of houses were displayed in frames in front of the respective brothels, but now this plan has been abandoned, and albums containing portraits of the women belonging to first and second-class houses are provided in the _hikite-jaya_ for the convenience of guests. These books are called “_Shashin Mitate-chō_” (albums of photographs to facilitate the selection of women), and it is believed that the following specimens of prefaces will be interesting:—

Photograph-album of the _O-hiko-rō_:—