NATIONAL GAMES AND AMUSEMENTS.
Notwithstanding the industrious habits of the Japanese, they are great
lovers of pleasure, and much addicted to sight-seeing; theatres and
wax-work exhibitions are very numerous, and jugglers, top-spinners, and
tumblers, are regular _habitués_ of the streets.
Though they do not allow pleasure to come before business, they do not
hesitate to associate it with religious observances; and on solemn
festival occasions, the vicinity of even the most sacred temples is
occupied by a variety of shows and common stalls, for the sale of
sweetmeats, toys, and coloured pictures.
Their principal athletic amusement is wrestling, which may he regarded
as the national game of the country. It is very generally practised,
and pairs of 'brawny fellows' are to be frequently met with of an
evening in the outskirts of towns and villages, either crouched down
in the preliminary attitude, which resembles that of angry
fighting-cocks, or dragging one another to and fro like frogs
struggling over a choice morsel. The game is necessarily a dragging
and pulling one, its grand object being to force the opponent beyond a
certain boundary.
So popular is it, that in addition to public performers, who travel
about the country exhibiting their prowess, the Daimios keep private
bands: each district has some especial champion; and every Japanese a
favourite '_smoo_' as they term the wrestlers, whose exploits are
canvassed with an enthusiasm totally at variance with the stolid
indifference which usually characterises the people, when any subject
is broached that does not directly concern their ordinary vocations.
The professional wrestlers are generally men of herculean proportions.
From constant practice they attain a muscular development that would
eclipse that of our prize-ring champions; but their paunchy figures
and sluggish movements render any further comparison impossible, as
they neither practise nor appreciate what we call training. Size and
weight are prized more than activity in the limited arena to which
their performances are confined: so, instead of walking down
superabundant flesh, they endeavour to increase it, dieting themselves
on rice and fish, which is far from productive of any Bantingite
result. The illustration of the Great Wrestling Amphitheatre at Yeddo
conveys a fair idea of the estimation in which athletic games are held
by the Japanese. The enclosure is capable of containing several
thousand spectators, and is always filled when a match of importance
takes place.
In the centre is the '_docho_,' or 'boundary-ring,' which is about
eighteen feet in diameter. The game is generally decided by one or
other of the combatants being forced against this boundary; for,
although a fair throw counts, it rarely decides the mastery, as the
great weight and the crouching position of the wrestlers necessitate
dragging, pushing, and even carrying; and the tenacity of their grasp
is such, that any other results are almost impossible.
The price of admission to these exhibitions is very low; and, like
everything else of a public nature, is regulated by the government
Officials are appointed to superintend the arrangements, and to see
that no accidents arise from overcrowding. For this purpose they are
provided with a box that overlooks the whole building.
The lofty scaffolding outside the enclosure is a time stage, from
which the commencement and duration of each match are intimated to the
audience by a certain number of strokes on the drum that surmounts it.
[Illustration: PUBLIC WRESTLING IN THE GREAT AMPHITHEATRE AT VEDDO.]
Before each wrestling-match commences, the 'geogee,' or 'judge,' who
superintends it, shouts out the names and exploits of the contenders,
who, after kowtowing very ceremoniously to one another, rise to the
preliminary attitude.
At a signal from the judge the combatants commence. At first they move
cautiously about the centre of the ring, watching a favourable
opportunity to close, which they presently do with deep guttural
exclamations. Then great working of muscle and tugging and straining
follow, the spectators cheering on their respective favourites, until
the fall of the geogee's fan--which is the moment depicted by the
artist--proclaims the victor.
Thundering plaudits greet the hero of the occasion, who presently
strolls about among the assembled multitude, attended by his 'coegi,'
or 'servant,' who collects the offerings with which they liberally
reward his exertions. When money fails, articles of clothing are
frequently bestowed--and sometimes too freely, as it is by no means
unusual for both sexes to half denude themselves at these exhibitions;
and it is a favourite joke with the women to send their male friends
to redeem the articles from the wrestler.
Although fencing is a military exercise, it is so commonly practised
by the Japanese 'yaconinierie,' or 'soldiery,' who comprise a large
portion of the population, and is entered into by them in so spirited
a manner, that it deserves to be classed as an amusement.
[Illustration: Yaconins fencing.]
The woodcut is a very faithful representation of yaconins fencing. The
masks cover the whole of the head; and the arms, breast, and hips, are
protected by cuirass, petticoat, &c. of leather ribbed with bamboo.
The fencing sticks are of the same length as the
'obi-todee-auf-catana,' or 'great fighting-sword.' They are made of
split canes, bound tightly together, and are used with both hands.
The Japanese fence well, and deliver their points with great
precision, especially an awkward downward thrust at the breast.
They deliver their cuts and points with fierce guttural exclamations,
which are peculiarly disagreeable to European ears; especially when
the listener is located in the vicinity of a guard-house, whose
occupants notify their employment at daybreak with such cries as
'Hie-e! Ah-h! Atturah-h!' ('That's at! that's into you!') and continue
this information, accompanied by the clashing of their sticks, and
occasional chuckles, until late in the afternoon.
The Japanese are great frequenters of the theatres, of the interior of
one of which the illustration is a very good representation--the
exterior is generally very like that of the temples; and in some, the
ground-floor is laid out with miniature lakes and bridges, the
audience looking down on the performance from lateral and opposite
galleries.
The stage is a little smaller than ours, but sometimes has a promenade
through the centre of the theatre, which facilitates by-play, to which
the Japanese attach great importance. The body of the house is divided
into boxes, which are generally taken by family parties, who bring
their provisions with them and remain all day, as the performances
begin about 10 A.M. and last until late in the evening. Their plays
are very tedious, although enlivened by a good deal of smart
_repartée_ and telling jokes, but the morality even of the most
correct is very questionable. Love, of course, is the prevailing
feature; and the adventures of the principal heroes contain enough
bloodshed and murder to satisfy the most ardent admirer of sensation
dramas. In their hand-to-hand encounters they cut and slash at one
another with naked swords, which they manage very skilfully, never
permitting the blades to come into contact. The female parts are
performed by boys and young men, who, with the assistance of paint and
powder, make admirable substitutes for women, though singing and
dancing-girls are frequently introduced as divertissements.
[Illustration: INTERIOR OF A THEATRE.]
[Illustration: Getting ready to go to the Theatre.]
Kite-flying is also a favourite amusement; and old age and childhood
may frequently be seen side-by-side, tugging at soaring monsters, in
the construction of which great ingenuity is displayed.
The Japanese often play with cards, which are about a quarter of the
size of ours; and they are much given to gambling, although it is
strictly prohibited, and, when detected, severely punished. But the
most popular in-door game is & sort of combination of draughts and
chess, which frequently engrosses the players for hours at a time.