THE COURT OF THE MIKADO.
The spiritual Emperor of Japan is supposed to be a direct descendant
of the gods, and as such enjoys the adoration, as well as the fealty
of his subjects. Unfortunately, his divine attributes deprive him of
the free exercise of his human functions, as his feet are never
permitted to touch the ground out of doors; nor is he allowed to cut
his hair, beard, or nails, or to expose himself to the rays of the
sun, which, would detract from the excellency of his person. His
principal titles are, 'Zen Zi'--'Son of Heaven;' 'Mikado,'--'Emperor;'
and 'Dairi,' or 'Kinrai,'--'Grand Interior:' the latter denoting the
perpetual seclusion of his person. It is said that his ancestry can be
traced in an unbroken line from nearly 700 years before the Christian
era.
The Mikado never goes beyond the precincts of the Imperial residence,
which occupies a large portion of the city of Miako, comprising
numerous palaces and gardens; and connected with it are the schools
alluded to in the last chapter, which are established on the plan of a
university, and are much resorted to by the children of the nobility.
[Illustration: A MINISTER OF THE MIKADO ON A RELIGIOUS EXPEDITION.]
Whenever this great personage wishes to take an airing, he is carried
by fourteen men in a large norimon with latticed windows, through
which he is able to see without being seen; and even when granting an
audience he is said to be concealed from view by bamboo screen-work.
His court consists of the members of his own family and certain great
officers of State appointed by the Tycoon, who nominally receive and
promulgate his commands; but, in ordinary times, he has no real power
in the temporal affairs of the empire, and only refuses to confer
legality on the acts of his lieutenant under the pressure of intrigue,
or of undue family influence.
To relieve the wearisome monotony of his life, as well as to prevent
the possibility of the sacred race becoming extinct, he is allowed
twelve wives, who are chosen from the most beautiful daughters of the
chief princes of the empire. These ladies occupy separate palaces in
the immediate vicinity of his, where they are attended by their own
retainers; but only one of them enjoys the rank of empress, although
they are all treated with the deference due to royalty. He is also
said to have an unlimited number of concubines, who reside within the
bounds of the Imperial establishment.
The distinctive mark of the members of the Mikado's court and of the
ladies of his family consists of two black patches placed on the
forehead, and in the arrangement of the hair, which is gathered up in
a long cue and curved over the head by one sex, and worn dishevelled
and without any kind of ornament by the other. Though the Mikado has
little influence in the secular affairs of state, his authority in
religious questions is supreme; but it is doubtful if he personally
takes any part in the solemnities which are constantly occurring at
Miako.
The subject of illustration represents one of these sacred
observances: the procession is coming from the Mikado's palace, which,
properly speaking, is a temple, being full of idols and effigies of
the 'Kamis,' or 'canonised saints.' The principal figure is the third
minister of state, and from this circumstance the white dresses worn
by the 'Kargardhee,' or 'fire-bearers,' and the presence of some of
the Imperial children, it is probably a midnight pilgrimage to some
neighbouring shrine, in honour of the manes of a departed member of
the family.
The early education of the Mikado's children is entrusted to the
ladies of the court: the sons, while still young, are sent to
different religious fraternities; and the daughters, on attaining a
suitable age, are bestowed in marriage on the nobles of the country,
except the eldest, who is appointed chief priestess of the temple of
the Sun at Issie, which contains the shrine of Ten-zio-dai-zin, to
which all Japanese are supposed to make a pilgrimage once in their
lifetime.
The Mikado is said to spend the greatest portion of his time in the
society of his wives, who contribute to his amusement by singing,
dancing, and theatrical entertainments. The latter sometimes take
place in the open air, as in the scene depicted opposite; on which the
'Grand Interior' and a select party are supposed to be looking down
through the jalousies of the palace. The vocal, instrumental, and
theatrical talents of the performers, are here called into play, the
arena for the latter being the 'Mekoshee,' or movable stage, in which
a female figure may be noticed declaiming her part. The long-handled,
fantastically-coloured umbrellas, belong to the Imperial attendants
taking part in the theatricals, whose hair, it will be noticed, is
arranged according to court etiquette.
[Illustration: A Begging Criminal. (Native Drawing.)]
The men whose features are concealed by their broad hats are
'Ninsokee,' or 'public singers.' Generally speaking they belong to the
aristocratic class, and are reduced to earn their livelihood in this
manner in consequence of some misdemeanour, on account of which their
property has been forfeited to the state. Their occupation is in
itself a punishment, as Japanese gentlemen never sing, regarding that
accomplishment as derogatory to their dignity. A certain class of
criminals also wear a disguise of this nature, as shown in the
woodcut.
[Illustration: THEATRICAL PERFORMANCE IN FRONT OF THE MIKADO'S PALACE.]
[Illustration: LADIES OF THE MIKADO'S COURT PERFORMING THE BUTTERFLY
DANCE.]
The band here represented is much stronger than those that generally
figure in Japanese orchestral and theatrical entertainments. Music is
not used, as with us, to fill the interval between the pieces, but
accompanies the performers throughout; the louder instruments being
energetically struck as the singing becomes impassioned or the actors
declamatory.
The butterfly dance is another specimen of the amusements with which
the ladies of the Mikado's court while away their monotonous
existence. As here shown, it is a private performance, of which the
Empress and her principal attendants are the only spectators. The
insects are personated by two of her ladies, who mimic their motions
and sing praises of the different flowers they pretend to alight upon,
to the accompaniment of a band of fair musicians. But the most
interesting part of the affair is a spirited dialogue, in which they
cleverly criticise, under floral appellations, the different ladies of
the court, in a manner equally gratifying and flattering to their
royal mistress.
[Illustration: Lady waiting on the Mikado. (from Photograph.)]
The Mikado is always waited upon by the ladies of his court, and is
said never to eat twice from the same vessels, which are broken to
pieces as they are removed. An intelligent yaconin, however, on
being questioned about this point, was much amused; and, though he
professed ignorance of the subject, was evidently very sceptical on
the matter of the dishes.