Unbeaten Tracks in Japan, Isabella Lucy Bird [learn to read books TXT] 📗

to Kiyoto with him, to see if any one under fourteen can write as well. I never saw such an exaggerated instance of child worship. Father, mother, friends, and servants, treated him as if he were a prince.

The house-master, who is a most polite man, procured me an invitation to the marriage of his niece, and I have just returned from it. He has three "wives" himself. One keeps a yadoya in Kiyoto, another in Morioka, and the third and youngest is with him here. From her limitless stores of apparel she chose what she considered a suitable dress for me--an under-dress of sage green silk crepe, a kimono of soft, green, striped silk of a darker shade, with a fold of white crepe, spangled with gold at the neck, and a girdle of sage green corded silk, with the family badge here and there upon it in gold. I went with the house-master, Ito, to his disgust, not being invited, and his absence was like the loss of one of my senses, as I could not get any explanations till afterwards.

The ceremony did not correspond with the rules laid down for marriages in the books of etiquette that I have seen, but this is accounted for by the fact that they were for persons of the samurai class, while this bride and bridegroom, though the children of well-to-do merchants, belong to the heimin.

In this case the trousseau and furniture were conveyed to the bridegroom's house in the early morning, and I was allowed to go to see them. There were several girdles of silk embroidered with gold, several pieces of brocaded silk for kimonos, several pieces of silk crepe, a large number of made-up garments, a piece of white silk, six barrels of wine or sake, and seven sorts of condiments. Jewellery is not worn by women in Japan.

The furniture consisted of two wooden pillows, finely lacquered, one of them containing a drawer for ornamental hairpins, some cotton futons, two very handsome silk ones, a few silk cushions, a lacquer workbox, a spinning-wheel, a lacquer rice bucket and ladle, two ornamental iron kettles, various kitchen utensils, three bronze hibachi, two tabako-bons, some lacquer trays, and zens, china kettles, teapots, and cups, some lacquer rice bowls, two copper basins, a few towels, some bamboo switches, and an inlaid lacquer etagere. As the things are all very handsome the parents must be well off. The sake is sent in accordance with rigid etiquette.

The bridegroom is twenty-two, the bride seventeen, and very comely, so far as I could see through the paint with which she was profusely disfigured. Towards evening she was carried in a norimon, accompanied by her parents and friends, to the bridegroom's house, each member of the procession carrying a Chinese lantern. When the house-master and I arrived the wedding party was assembled in a large room, the parents and friends of the bridegroom being seated on one side, and those of the bride on the other. Two young girls, very beautifully dressed, brought in the bride, a very pleasing-looking creature dressed entirely in white silk, with a veil of white silk covering her from head to foot. The bridegroom, who was already seated in the middle of the room near its upper part, did not rise to receive her, and kept his eyes fixed on the ground, and she sat opposite to him, but never looked up. A low table was placed in front, on which there was a two- spouted kettle full of sake, some sake bottles, and some cups, and on another there were some small figures representing a fir-tree, a plum-tree in blossom, and a stork standing on a tortoise, the last representing length of days, and the former the beauty of women and the strength of men. Shortly a zen, loaded with eatables, was placed before each person, and the feast began, accompanied by the noises which signify gastronomic gratification.

After this, which was only a preliminary, the two girls who brought in the bride handed round a tray with three cups containing sake, which each person was expected to drain till he came to the god of luck at the bottom.

The bride and bridegroom then retired, but shortly reappeared in other dresses of ceremony, but the bride still wore her white silk veil, which one day will be her shroud. An old gold lacquer tray was produced, with three sake cups, which were filled by the two bridesmaids, and placed before the parents-in-law and the bride. The father-in-law drank three cups, and handed the cup to the bride, who, after drinking two cups, received from her father-in- law a present in a box, drank the third cup, and then returned the cup to the father-in-law, who again drank three cups. Rice and fish were next brought in, after which the bridegroom's mother took the second cup, and filled and emptied it three times, after which she passed it to the bride, who drank two cups, received a present from her mother-in-law in a lacquer box, drank a third cup, and gave the cup to the elder lady, who again drank three cups. Soup was then served, and then the bride drank once from the third cup, and handed it to her husband's father, who drank three more cups, the bride took it again, and drank two, and lastly the mother-in- law drank three more cups. Now, if you possess the clear- sightedness which I laboured to preserve, you will perceive that each of the three had inbibed nine cups of some generous liquor! {16}

After this the two bridesmaids raised the two-spouted kettle and presented it to the lips of the married pair, who drank from it alternately, till they had exhausted its contents. This concluding ceremony is said to be emblematic of the tasting together of the joys and sorrows of life. And so they became man and wife till death or divorce parted them.

This drinking of sake or wine, according to prescribed usage, appeared to constitute the "marriage service," to which none but relations were bidden. Immediately afterwards the wedding guests arrived, and the evening was spent in feasting and sake drinking; but the fare is simple, and intoxication is happily out of place at a marriage feast. Every detail is a matter of etiquette, and has been handed down for centuries. Except for the interest of the ceremony, in that light it was a very dull and tedious affair, conducted in melancholy silence, and the young bride, with her whitened face and painted lips, looked and moved like an automaton. I. L. B.



LETTER XXV

A Holiday Scene--A Matsuri--Attractions of the Revel--Matsuri Cars- -Gods and Demons--A Possible Harbour--A Village Forge--Prosperity of Sake Brewers--A "Great Sight."

TSUGURATA, July 27.

Three miles of good road thronged with half the people of Kubota on foot and in kurumas, red vans drawn by horses, pairs of policemen in kurumas, hundreds of children being carried, hundreds more on foot, little girls, formal and precocious looking, with hair dressed with scarlet crepe and flowers, hobbling toilsomely along on high clogs, groups of men and women, never intermixing, stalls driving a "roaring trade" in cakes and sweetmeats, women making mochi as fast as the buyers ate it, broad rice-fields rolling like a green sea on the right, an ocean of liquid turquoise on the left, the grey roofs of Kubota looking out from their green surroundings, Taiheisan in deepest indigo blocking the view to the south, a glorious day, and a summer sun streaming over all, made up the cheeriest and most festal scene that I have seen in Japan; men, women, and children, vans and kurumas, policemen and horsemen, all on their way to a mean-looking town, Minato, the junk port of Kubota, which was keeping matsuri, or festival, in honour of the birthday of the god Shimmai. Towering above the low grey houses there were objects which at first looked like five enormous black fingers, then like trees with their branches wrapped in black, and then--comparisons ceased; they were a mystery.

Dismissing the kurumas, which could go no farther, we dived into the crowd, which was wedged along a mean street, nearly a mile long--a miserable street of poor tea-houses and poor shop-fronts; but, in fact, you could hardly see the street for the people. Paper lanterns were hung close together along its whole length. There were rude scaffoldings supporting matted and covered platforms, on which people were drinking tea and sake and enjoying the crowd below; monkey theatres and dog theatres, two mangy sheep and a lean pig attracting wondering crowds, for neither of these animals is known in this region of Japan; a booth in which a woman was having her head cut off every half-hour for 2 sen a spectator; cars with roofs like temples, on which, with forty men at the ropes, dancing children of the highest class were being borne in procession; a theatre with an open front, on the boards of which two men in antique dresses, with sleeves touching the ground, were performing with tedious slowness a classic dance of tedious posturings, which consisted mainly in dexterous movements of the aforesaid sleeves, and occasional emphatic stampings, and utterances of the word No in a hoarse howl. It is needless to say that a foreign lady was not the least of the attractions of the fair. The cultus of children was in full force, all sorts of masks, dolls, sugar figures, toys, and sweetmeats were exposed for sale on mats on the ground, and found their way into the hands and sleeves of the children, for no Japanese parent would ever attend a matsuri without making an offering to his child.

The police told me that there were 22,000 strangers in Minato, yet for 32,000 holiday-makers a force of twenty-five policemen was sufficient. I did not see one person under the influence of sake up to 3 p.m., when I left, nor a solitary instance of rude or improper behaviour, nor was I in any way rudely crowded upon, for, even where the crowd was densest, the people of their own accord formed a ring and left me breathing space.

We went to the place where the throng was greatest, round the two great matsuri cars, whose colossal erections we had seen far off. These were structures of heavy beams, thirty feet long, with eight huge, solid wheels. Upon them there were several scaffoldings with projections, like flat surfaces of cedar branches, and two special peaks of unequal height at the top, the whole being nearly fifty feet from the ground. All these projections were covered with black cotton cloth, from which branches of pines protruded. In the middle three small wheels, one above another, over which striped white cotton was rolling perpetually, represented a waterfall; at the bottom another arrangement of white cotton represented a river, and an arrangement of blue cotton, fitfully agitated by a pair of bellows below, represented the sea. The whole is intended to represent a mountain on which the Shinto gods slew some devils, but anything more rude and barbarous could scarcely be seen. On the fronts of each car, under a canopy, were thirty performers on thirty diabolical instruments, which rent the air with a truly infernal discord, and suggested devils rather than their conquerors. High up on the flat projections there were groups of monstrous figures. On one a giant in brass armour, much like the Nio of temple gates, was killing a revolting-looking demon. On another a daimiyo's daughter, in robes of cloth of gold with satin