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SKETCHES OF JAPANESE MANNERS AND CUSTOMS
by
J. M. W. SILVER
Lieutenant Royal Marines, Light Infantry
(Late of the Royal Marine Battalion for Service in Japan)
Illustrated by Native Drawings,
Reproduced in Fac-Simile by Means of Chromo-Lithography.
LONDON
1867
[Illustration: Sketches of Japanese Manners and Customs]
TO
COLONEL SIR EDMUND SAUNDERSON PRIDEAUX, BART.
DEAR SIR EDMUND,
These few 'Sketches of Japanese Manners and Customs' were collected
during the years 1864-5, at which time I was attached to the Battalion
of Royal Marines for service in Japan, and it is now very pleasing to
have the privilege of dedicating them to one who was the friend and
companion-in-arms of my late Father.
In memory of this bond of friendship, and in grateful acknowledgment
of the many kindnesses you have shown me, this Dedication of my humble
efforts to assist in the elucidation of the social condition of a
distant and comparatively unknown race, affords me deep gratification.
With much respect and esteem, I am,
Dear Sir Edmund,
Very faithfully yours,
J. M. W. SILVER.
Royal Marine Barracks, Forton,
January 29th, 1867.
CONTENTS.
I. FESTIVALS AND HOLIDAYS
II. FIRES AND FIRE-BRIGADES
III. DOMESTIC LIFE
IV. THE TYCOON, DAIMIOS, AND ARISTOCRACY
V. THE COURT OF THE MIKADO
VI. THE 'HARA KIRU'
VII. NATIONAL GAMES AND AMUSEMENTS
VIII. CRIMES AND PUNISHMENTS
IX. SUPERSTITIONS AND RELIGIOUS OBSERVANCES
X. ON THE TOKAIDO AND IN THE TEA-HOUSES
XI. THE SPY SYSTEM--THE BATH-HOUSE
XII. LOVE OF FLOWERS
LIST OF PLATES.
TITLE.
FESTIVAL IN HONOUR OF THE BIRTH OF CHILDREN.
MERCHANTS' GREAT FESTIVAL.
OTINTA LAMA.
A FIRE-BRIGADE ON ITS WAY TO A FIRE.
A JAPANESE WEDDING.
A DAIMIO PAYING A STATE VISIT.
A DAIMIO AND FAMILY WITNESSING FIREWORKS.
A MINISTER OF THE MIKADO ON A RELIGIOUS EXPEDITION.
THEATRICAL PERFORMANCE IN FRONT OF THE MIKADO'S PALACE.
LADIES OF THE MIKADO'S COURT PERFORMING THE BUTTERFLY DANCE.
THE TYCOON'S MESSENGERS READING THE SENTENCE.
THE SACRIFICE.
A DAIMIO'S FUNERAL.
CREMATION OF THE BODY.
RELATIVES COLLECTING ASHES.
PUBLIC WRESTLING IN THE GREAT AMPHITHEATRE AT VEDDO.
INTERIOR OF A THEATRE.
MODE OF CONDUCTING A CRIMINAL TO EXECUTION.
LONINS, OR OUTLAWS, ROBBING A RICH MERCHANT'S HOUSE.
EXPOSURE FOR INFIDELITY.
SELLING INDULGENCES BY PUBLIC AUCTION.
PRAYING A SOUL OUT OF PURGATORY.
SUDANGEE, OR LAST OFFICES.
A BAKER'S SHOP.
A TEA-HOUSE MERRY-MAKING.
UYA, OR BATH-HOUSE.
A FLOWER SHOW.
[Illustration: FESTIVAL IN HONOUR OF THE BIRTH OF CHILDREN.]
[Illustration: MERCHANTS' GREAT FESTIVAL.]
CHAPTER I.
FESTIVALS AND HOLIDAYS.
The first feature of Japanese life that prominently presents itself to
the notice of the stranger, is the number of festivals and holidays
held in honour of the various deities, warriors, and sages, or in
accordance with some ancient custom of the county, which is as
paramount an authority as the most stringent of its laws. Of these
festivals, the 'Oki-don-tako,' or 'Great Holiday,' which takes place
about Christmas, and lasts a fortnight, is the most important.
Previous to its celebration, it is customary with the people to settle
accounts, and amicably adjust any quarrels or estrangements that may
happen to exist; and they evince the same spirit that actuates
Christian nations at this season, by a general interchange of presents
and complimentary visits with their friends and acquaintance. So
anxious are the merchants to take this opportunity of settling with
their creditors, that, when the dealers have deficiencies to make up,
articles are frequently pressed on foreign residents at the Treaty
Ports at prices previously refused.
The 'Gogata Seku,' the emblems of which form the first subject of
illustration, is also a festival of great importance: it takes place
about the middle of June, which is the fifth month of the Japanese
calendar, from which it derives its designation, and is kept up with
more than ordinary spirit during the three days of its continuance. It
is held in commemoration of Gongen Sama, the great general to whom
the present dynasty owes its existence; and the Japanese date their
births from this festival, even if born the day after its last
celebration.
It has several curious symbols, the most striking being huge aerial
fishes, in imitation of the 'koi,' or 'carp;' large crimson streamers,
representations of Gongen Sama crushing a demon; and the heads and
tails of crayfish, with which they decorate their dishes and the
entrances of their houses. The floating fish flag is hoisted over
every house in which a boy has been born during the preceding twelve
months, and is emblematical of his future career. As the 'koi,' or
'carp,' which is very plentiful in Japan, finds its way up streams and
rivers, surmounting all obstacles in its way, and rendering itself by
its fecundity and edible qualities useful to the whole country, so the
child is to make his way through life, boldly fulfilling his destiny,
and proving himself a useful and beneficial member of the community.
In the same way, the scarlet streamer indicates the birth of a female
child, and the domestic nature of her duties. The crayfish are used to
remind the people of their humble origin (it being traditionary that
the empire originated from a race of poor fishermen), and the
consequent necessity of humility, temperance, and frugality, in their
different stations in life.[1]
[Footnote 1: The slice of salt-fish which accompanies Japanese letters
is an exhortation to the same effect.]
Various qualities are ascribed to the hero of this festival: he is
considered the especial champion of women, for whose protection he
instituted several laws and regulations; among others, making it
obligatory on them to blacken their teeth on entering into the married
state. He is believed to be able to charm away fevers, to alleviate
suffering, and to prevent the lives of his _protégées_ from being
embittered by jealousy. During the celebration of this festival the
whole country presents an extraordinary appearance; aerial fishes,
streamers, and bamboo decorations, meet the eye in every direction;
and the people in gala costume which is always worn on holidays,
greatly enhance the brilliancy of the scene.
The gala dress is much gayer than that ordinarily worn, but there is
little difference in the material, the dress of every class being
regulated by stringent sumptuary laws. Blues and purples predominate
in winter, the lighter and more varied colours being generally
confined to materials only adapted for summer use. The ladies have a
great partiality for crimson crape, which is generally worn as an
under-robe, and peeps daintily out at the bottom of the dress, and at
the wide open sleeves; it is also entwined in the hair, and with the
girdle, at the back of which it is allowed to droop in full, graceful
folds. The men do not affect such bright colours as the women and
children, although their robes are often fantastically embroidered
with various strange devices, such as shell-fish, frogs, flowers and
landscapes, some of which are beautifully worked.
[Illustration: Mother and Child.(From Photograph.)]
The whole populace on these occasions seem determined to enjoy
themselves; the air of good-natured contentment, which characterises
them at all times, taking a more exuberant tone as they stroll about
the streets, visit in family parties, or make excursions to the
neighbouring tea-houses. Thoroughly domestic in their tastes and
habits, it is a pleasing sight to watch the family groups. Here a
grand-dame is carefully assisted along by her son and daughter-in-law,
preceded by chattering grandchildren in the gayest of dresses, tugging
at extraordinary kites; or a father, in the doorway of his house,
nurses one child, while the mother exhibits for the admiration of
sympathizing friends another infant--probably one of the unconscious
objects of all this rejoicing.
Though the men frequently exceed the bounds of sobriety on these
festivals and holidays, they rarely become quarrelsome. It is,
however, by no means unusual for them to keep in a state of
intoxication for days; alleging this, with perfect _sang froid_, as an
excuse for any neglected promise or unfinished job.
The 'Omatsurie,' or 'Merchants' Great Festival,' which is only
celebrated in the principal towns, takes place about the middle of
July, and may be considered to be an exhibition of the different
trades, as the merchants and craftsmen of the country show the
choicest specimens of their wares and handicraft in a kind of trades'
procession. Like all the rest of their festivals it has a religious
signification, the people believing that misfortunes in business are
warded off by it. Upwards of five hundred trade trophies figure in one
of these processions, the imposing nature of which may be imagined
from the gorgeous materials and fantastic dresses depicted in the
illustration. The car in the foreground bears the trophy of the
wax-figure makers, whose trade is one of the most lucrative in Japan,
as the Japanese not only perpetuate their celebrities by wax-work
effigies, but the majority of the people, being professors of the
Sintoo religion, have Lares and Penates of the same material, called
'Kamis,' which are supposed to intercede on their behalf with the
Supreme Being. And this is in addition to regular wax-work
exhibitions, which are very popular, and the sale of toys which are
hawked about the country by travelling dealers.
[Illustration: Travelling Merchant (Native Drawing.)]
[Illustration: OTINTA LAMA.]
The merchants have a general right of _entrée_ to all parts of the
town on these occasions. In the illustration, the procession is
passing through the official quarter of Yeddo, the Tycoon's palace
forming the subject of the background. They halt from time to time in
their progress, which is enlivened by songs descriptive of their
various callings, and the beating of huge drums, and blowing of
strange discordant instruments. There is a kind of analogy between our
industrial exhibitions and these festivals; and, whatever the purpose
may be for which they were originated, it is plain that they admirably
represent the industry, wealth, and resources of the country.
'Otinta Sama' is a comical divinity, who is laughed at by some, and
believed by others to inhabit certain miniature temples, which are
crowned with cocks with outspread wings, as that bird is supposed to
be his favourite incarnation. On holidays and festivals, his temples
are frequently carried about on the shoulders of his votaries, who are
generally the most ignorant and superstitious of the people. This is
always a subject of merriment with the unbelievers, who crowd round
the temples and oppose their progress, and indulge in witticisms at
the expense of the divinity and his bearers. This sometimes leads to a
disturbance, but only when the parties concerned have been indulging
too freely in their favourite saki.
[Illustration: Saki-drunk. (Native drawing.)]
The intercession of Otinta Sama is principally sought in times of
drought or of heavy rains; the temple in the one case being brought
out and exposed to the sun, and in the other sprinkled with water, by
way of intimating the immediate necessity for his good offices.