CHAPTER XXX

SENKÉ AND THE MERCHANTS’ DINNER

It required an elaborate negotiation extending through two weeks, as well as the tactful aid of an officer of the Kioto Kencho to arrange for me a cha no yu at the house of Senké, the great master of the oldest school of that art. Senké was about going to Uji to choose his teas; he was changing his teas; he was airing his godowns, and he sent a dozen other excuses to prevent his naming a day. Not until it had been explained fully to this great high-priest of the solemnity that I had studied cha no yu with his pupil, Matsuda, and that, knowing that Matsuda had first studied the _Hori no Uji_-method, I was pursuing the art to its fountain-head, to make sure that no heterodox version of the Senké method had betrayed my inexperience, would he consent to receive me.

Senké is a descendant of Rikiu, the instructor and friend of Hideyoshi, the Taiko. For years they practised the “outward” rites together, and wrote poems to one another, until Hideyoshi admired Rikiu’s beautiful daughter. Rikiu refused her to him, and estrangement followed. Rikiu had built a splendid gate-way for the Daitokuji temple, within which, as was the fashion of the time, he had placed a small wooden statue of himself. Taiko Sama, riding through with his train one day, was told of the statue overhead. He declared it an insult to him, the Shogun, and sent to Rikiu the fateful short sword, the _wakazashi_, and the great master died the honorable death of seppuku, or hara kiri.

“And the daughter? Did the Taiko get her after Rikiu’s death?” we asked, as we sat waiting in Senké’s garden, listening to the many histories connected with the place. “_Wakarimasen_” (I do not know), said our friend, with that Japanese indifference to the end of a story that so perplexes the western mind.

Senké has a lovely garden beyond the palace walls, and reached by deserted streets, whose blank walls shelter aristocratic homes. Crossing a court, we crept through a small door in a large gate-way and entered this retreat, whose floor was all irregular stones, covered evenly with a soft, velvety, green moss. Upon this verdant surface fell dappled shadows and an occasional ray of sunshine from a canopy of maple, cherry, and pine branches, carefully clipped and trained so as to form an even tent-roof over the whole enclosure. The stillness was unbroken, though upon this strange paradise looked out a dozen exquisitely simple tea-rooms, each isolated and sheltered from the view of any other. Pupils come to Senké from all parts of Japan, but even when every tea-room is in use the same hush reigns. To subdue us to what we were to work in, and to enhance Fortune’s supreme favor of a cha no yu in the Taiko’s manner, we were made to wait and wait before we were invited into the cool twilight of a large tea-room. The house has been burned twice since Hideyoshi’s day, but each time has been exactly reproduced, so that virtually we sat where the Taiko had sat for many hours, and we used the veritable bowls, spoons, trays, and tea-caddies sanctified by his touch three hundred years ago. The Taiko’s crest was on the simple, gold-flecked screens of the room, and an autograph verse on a kakemono, and a single pink lily in a bronze vase, were the ornaments of the tokonoma.

Senké, now past seventy years of age, receives few pupils himself, but neither he nor his handsome son of about thirty years is wholly incurious as to the strange fashions that have entered the country since the Restoration. We bowed with the profound solemnity of mourners, but with the vigilance of spies we watched Senké as he built the fire, laid on the white azalea charcoal, dropped some chips of sandal-wood, and boiled his historic iron kettle. Then followed the feast of many delicate dishes—tea; bean-soup, with bits of egg-plant; raw fish with shreds of _daikon_ and fresh ginger; tai-soup, with sea-weed and mushrooms; broiled _ai_, with _shoyu_; bamboo-soup; dried _Shikoku_ salmon; broiled birds; Kaga walnuts, preserved in a thick syrup, and other dishes; each course accompanied by rice, and ending with barley-water. An old iron saké-pot and shallow red lacquer saké-cups were passed around with the various dishes, and we gravely pledged one another and the master who served us. When the dried fish was brought in my Kencho friend nipped off some choice bits with his chop sticks and offered them on a paper to our host, who ate them, and put the paper in his sleeve. At the end of the feast the first guest—the one sitting nearest the tokonoma—wiped all his bowls and dishes clean with paper, which he put in his sleeve, and we followed his example. With the thirteenth course we gathered up our tray of sweets and retired to the garden, waiting there until soft strokes on an old bell called us back to the room, which had been swept, and the picture and vase in the tokonoma changed. Senké, too, had replaced his dark gauze kimono by one of pale-blue crape, and sat in a reverent attitude. With infinite deliberation he went through the solemn rites, and duly presented us each with a bowl of green gruel more bitter than quinine, twelve spoonfuls of powdered tea being the measure used. This was his _koi cha_. The usu cha was a less strong decoction, demanding a simpler ceremony, and was served in a bowl passed around for all to sip from in turn. Previous study enabled us to note intelligently every movement of the old master, and the significant position of each thumb and finger, hand, elbow, and wrist, as the venerable artist of cha no yu exemplified the grace and niceties of the “outward” school.

At the proper time we asked the history of the implements used in the ceremony. The _na tsume_, or tea-bowl of Raku ware, in Jo-o shape, belonged to Rikiu, Jo-o having been the teacher of Rikiu, and the arbiter of the form of many implements of cha no yu. The little bamboo slip with a flat, curved end, which lifted the powdered tea from its box, was cut by Rikiu. It bears no decoration or mark, and is of the ordinary shape; but this commonplace _cha shaku_ cannot be bought for even two hundred dollars. The Emperor Komei, father of the present Emperor, was taught by the elder Senké, and bequeathed to his master various autographs and an incense-box of great antiquity. Driven though he is by the spirit of innovat