Transcriber’s Note:
This version of the text cannot represent certain typographical effects.
Italics are delimited with the ‘_’ character (e.g. _some italic text_).
For other changes see the Transcriber’s Note at the end of the text.
THE NIGHTLESS CITY
不夜城
OR THE “HISTORY OF THE YOSHIWARA YŪKWAKU”
By J. E. DE BECKER
_Twenty Years a Resident of Japan_
“Virtuous men have said, both in poetry and classic works, that houses
of debauch, for women of pleasure and for street-walkers, are the
worm-eaten spots of cities and towns. But these are necessary evils,
and if they be forcibly abolished, men of unrighteous principles will
become like ravelled thread.”
73rd section of the “_Legacy of Ieyasu_,” (the first Tokugawa Shōgun.)
With Numerous Illustrations
Third Edition Revised
Yokohama Shanghai Bremen
MAX NÖSSLER & Co.
London
PROBSTHAIN & Co.
14 Bury Street, W.C.
_Copyright_,
BY THE AUTHOR.
_All rights reserved._
PRINTED BY
THE BOX OF CURIOS PRINTING AND PUBLISHING CO.,
YOKOHAMA. JAPAN.
Contents
PAGE.
History of the Yoshiwara Yūkwaku 1
Nihon-dzutsumi (_The Dyke of Japan_) 15
Mi-kaeri Yanagi (_Gazing back Willow-tree_) 16
Yoshiwara Jinja (_Yoshiwara Shrine_) 17
The “Aisome-zakura” (_Cherry-tree of First Meeting_) 18
The “Koma-tsunagi-matsu” (_Colt tethering Pine-tree_) 18
The “Ryo-jin no Ido” (_Traveller’s Well_) 18
Government Edict-board and Regulations at the Ōmon (Great Gate) 18
The Present Ōmon 19
Of the Reasons why going to the Yoshiwara was called “Chō ye
Yuku” 21
Classes of Brothels 21
Hikite-jaya (“_Introducing Tea-houses_”) 28
The Jū-hachi-ken-jaya (_Eighteen Tea-houses_) 41
The “Amigasa-jaya” (_Braided Hat Tea-houses_) 42
The “Kujaku Nagaya” 42
The “Kembansho” 43
Classes of Prostitutes 44
“Kamuro” (_Young Female Pages_) 52
Shinzō 55
Yarite (_Female Managers_) 59
The “Kutsuwa” 62
The “Wakaimono” (_Male Servants_) 63
Hōkan and Geisha 67
The Europeanization of the Yoshiwara and the Introduction of
Loochooan Courtesans 84
Zegen (_Procurers_) 85
The Dress of Courtesans 94
Coiffures of the Yūjo 99
Rooms of the Yūjo 104
Tsumi-yagu no koto 108
Sōbana (“_All round tips_”) 112
Shokwai (_First Meeting_) and Mi-tate (_Selection of Women_) 112
I-tsuzuke no koto 118
O cha wo hiku to iū koto 118
Shiki-zome no soba-burumai no koto 119
Shashin-mitate-chō (_Photograph Albums for Facilitating the
Selection of Women_) 121
Signs and Cyphers Showing the fees of Courtesans 123
System of Book-keeping in the Yoshiwara 124
Brothel Advertisements 130
Ageya no sashi-gami (_Summons to the “Ageya”_) 134
Yoshiwara Dialect 136
Magic Charms of the Yoshiwara 140
Yoshiwara “Pot-pourri” 156
Dai-ya no koto (_Cook-houses of the Yoshiwara_) 158
Famous Things of the Yoshiwara 160
Peddlers, Hawkers, and Beggars 160
The Examination of Licensed Women at the Hospital for Venereal
Complaints 163
Results of Medical Inspection 166
Mu-sen Yū-kyō (_Going on a “Spree” without having any money to
pay for it_) 167
Yoshiwara-gayoi no Jinrikisha. (_The Jinrikisha Traffic of the
Yoshiwara_) 170
Sanya-uma da-chin-dzuké (_The Cost of Hiring Horses to and from
the Yoshiwara_) 174
Byō-chū oyobi In-shoku no koto (_Of the Sickness of Prostitutes
and of Their Meals_) 176
Hiké no koto (_Closing Hours in the Yoshiwara_) 177
Kōchō no koto (_The Next Morning_) 177
Hiru-jimai Yo-jimai no koto (_The Day and Night Engagements of
Courtesans_) 177
Raku-seki no koto (_The Removal of Names from the Register of
the Yoshiwara_) 178
Gwaishutsu oyobi tōbō (_Exit and Flight from the Yoshiwara_) 180
Yūjo byō-shi oyobi jō-shi no koto (_Of the Death and
Double-suicide of Courtesans_) 183
Shin-Yoshiwara no Bodaiji (_The Cemetery of the Shin-Yoshiwara_) 186
Karitaku no koto (_The Temporary Prostitute Quarter_) 186
Dōchū no koto oyobi tsuki-dashi no koto (_The Processions of
Yūjo and the First Appearance of “Recruits” in the Yoshiwara_) 191
Yo-misé “Suga-gaki” no koto (_The Night Exhibition and the
Suga-gaki_) 201
Daijin-mai no koto (_Dancing of Millionaires_) 206
Daikoku-mai no koto (_Daikoku-mai Dancing_) 210
Introductory Songs of the “Daikoku-mai” 211
Dote-bushi no koto oyobi Hayari-uta (_Dote-bushi (Songs) and
Popular Songs_) 214
Annals of a Year 217
Naka-no-chō no Hana-ue (_Flower-planting in the Naka-no-chō_) 229
Tōrō no koto (_Lanterns_) 232
Niwaka Dancing 235
Tori-no-machi 245
Yoshiwara Nana-fushigi (_The Seven Mysteries of the Yoshiwara_) 246
Yoshiwara no Kyō-ka (_Comic Poetry_) 247
Yoshiwara Kwai-rok-ki (_Chronology of Fire Disasters in the
Yoshiwara_) 248
Furi-sodé Kwaji (_The Great Fire of Meireki_) 254
Mei-gi ryaku-den (_Brief Sketches of the Lives of Famous
Courtesans_) 261
Takao 261
Hana-ōgi 264
Tamakoto 267
Katsuyama 268
Segawa 270
Usugumo 271
Ōsumi 274
Ko-murasaki 275
Kaoru 278
Kokonoye 281
Kinokuni-ya Bunzaemon 282
The Laws Relating to the Control of Prostitution 288
Forms of Contracts between Brothels and Courtesans 303
The Medical Aspect 311
Result of Medical Inspection in the Shin-Yoshiwara, 1898 315
Result of Medical Inspection in the Shin-Yoshiwara. January to
April 1899 315
Statistics _re_ Social Evil in Japan in 1898 316
Pros and Cons 316
Correspondence from the _“Japan Times”_ 316
Notes on “Jigoku” or Illicit Prostitutes 326
Appendix
The Government of “The Nightless City” 331
Details of “_Employees_” Books 342
The Medical Inspection of Prostitutes 344
Special Inspection 345
Hospital Regulations 347
Medical Statistics 359
Digest of the Regulations of the Yoshiwara Guild 361
The Validity of Debts 366
“Yarō”—“_Peccatum illud horribile, inter Christianos non
nominandum._” 367
“Golgotha”—The Last Hours, Death, and Burial of a Courtesan 373
Five Curious Legal Documents actually used in the Yoshiwara
in 1902 380
List of Illustrations.
FACING PAGE.
Map of the Yoshiwara in 1846 Preface
Present Plan of the Yoshiwara After Preface
Procession of Courtesans 1
Artist Painting Mural Decorations 14
A Familiar Guest in a Brothel 16
The “_Ō-mon_” or Entrance Gateway of the Yoshiwara 18
Street scene in the “_Naka-no-chō_” 22
Entertainment given by a Redeemed Yūjo 28
Guests Diverting Themselves with _Geisha_ 28
A Guest being Conducted to a Brothel 28
Outside a Third-class Brothel at Night 36
Types of Modern Courtesans 44
An Ancient “_Shirabyōshi_” 46
A “_Yobidashi_” of the Yoshiwara 46
Type of Modern Courtesan in “State” Costume 48
Type of Dress Worn by a Courtesan 50
Modern Courtesan and Her Attendants 52
Modern Courtesan, Attendant, and _Kamuro_ 54
The _Début_ of a “_Shinzō_” 56
_Geisha_, Dancing the “_Kapporé_” 68
_Geisha_, _Hōkan_, and Guest 72
A Rainy Day in the Yoshiwara 104
Courtesan Making Her Toilette 106
Courtesans Composing Letters to their Guests 106
Arranging “_Tsumi-yagu_” 108
Introduction of Courtesans to Guests 112
Courtesans Making Their Toilettes 114
Interior of a Brothel at Night 116
Guest Detained by “Love and Stress of Weather” 118
Courtesans on Their “Rounds” 120
Guests Making Their Toilettes 122
The “_San-ya-uma_” 177
Modern Courtesans in Their “Cages” 202
Street scene in the Yoshiwara a Hundred Years Ago 206
Courtesans about to pay New Year’s visits 218
Gathering of Courtesans at the “_Hassaku_” 224
Preparing “_Mochi_” for the New Year 228
Courtesans Viewing Cherry Blossoms. 230
Illuminated Lanterns 232
The “Feast of Lanterns” 232-a
Night scene in the Yoshiwara 234
The “_Niwaka-odori_” (1801 to 1803) 236
Modern “_Niwaka-odori_” 240
The “_Tori-no-machi_” 244
A Fire in the Yoshiwara 248
Inspection Day 346
The “_Yarō_” 368
The Grave of a Courtesan 372
Tombs of “Double-suicides” 376
The “_Mu-en-dzuka_” 378
[Illustration: Map of the Yoshiwara in 1846.]
PREFACE TO THE FIRST EDITION.
So long as the human race shall last, so long as human appetites demand
illegitimate gratification, so long as human blood shall course hot in
the veins, so long as men have passions, so long as women are frail,
so long as illicit pleasure has attraction for bewildered wallowing
humanity, and so long as lust—“the headstrong beast”—stalks through
the earth, venery and dissipation will undoubtedly continue to claim
thousands of unhappy victims.
“Vice, like disease, floats in the atmosphere,” and not-withstanding
the strenuous efforts which have been made in all countries and ages to
eradicate prostitution, it still exists rampant and invincible.
History demonstrates the sad truth that all human efforts have been—and
probably will ever be—unequal to the task of stamping out the social
evil from our midst, and we are therefore forced to recognize that
the most we can hope to achieve in the direction of ameliorating its
consequences is to regulate and control its worst features.
Many and earnest have been the vain attempts of European reformers
to grapple with the evil, but their efforts have invariably ended in
disappointment. The Church has thundered and anathematised, the secular
authorities have enacted severe and even cruel laws, but the courtesan
still survives and will doubtless survive and flourish until the waters
of Time have engulfed the World.
Japan has not stood still among the nations in her endeavour to solve
the problem of prostitution, and the present system of legal control
is to all intents and purposes a development of that inaugurated
_well-nigh three centuries ago_.
While admitting the existence of objectionable features in the
Yoshiwara, it is evident that a system which has stood the test of
three hundred years must possess _some_ good points to account for its
long lease of life, and it is also manifest that in the course of three
centuries a great many curious customs—some good, some bad—must have
crystallized around the institution.
Being no partizan or special pleader, I have simply confined myself
to what I believe to be assured facts, and hope that the contents of
the volume will be of interest and service to persons who are anxious
to impartially investigate the customs of one of the most remarkable
institutions in this country. I have compiled this book with the
object of providing foreign students of sociology, medical men, and
philanthropists, with some reliable _data_ regarding the practical
working of the system in the leading prostitute quarter of the Japanese
Metropolis, and I leave my readers to form their own opinions as to
the pros and cons of the success or otherwise achieved by the plan of
strict segregation adopted in this country.
To Japanese who may think that the Yoshiwara is a disgrace to Japan I
would remark that this Empire has by no means a _monopoly_ of vice;
and to foreigners who declaim against the “immorality of Japanese” I
would say frankly—“Read the ‘_History of Prostitution_’ by Dr. W. W.
Sanger of New York, also the ‘_Maiden Tribute of Modern Babylon_’ which
appeared in the Pall Mall Gazette fourteen years ago. You cannot afford
to criticize this country too closely, for you certainly dare not lay
the flattering unction to your souls that you, as a race, have any
_monopoly_ of virtue.”
The Author.
Tōkyō, 1899.
PREFACE TO THE THIRD EDITION.
Subsequent to the anonymous publication of the first edition of “_The
Nightless City_” in 1899, the author was severely remonstrated with by
certain unctuous persons for writing a work which lays bare a phase of
Japanese social phenomena before which all writers (with the notable
exception of Mr. Henry Norman) have studiously drawn a veil. To this
class of persons he neither owes, nor offers an apology; but, in order
to obviate any misunderstanding of his motives, it may be well to
explain the _raison d’être_ of the book.
The voluminous _data_ on which is based the science of Medical
Jurisprudence, the records of all Courts, and the experience and common
knowledge of mankind, prove the universal existence of the “social
evil” to be, a present and undeniable _fact_.
History shows that from the earliest ages society was never free from
the devastating influences of a vice which arises from an apparently
inextinguishable natural impulse inherent alike in human beings and in
the lower creation. Wrap ourselves up as we may in a mantle of prudery,
refuse as we may to recognize the evil, it is still there, and like the
poor, it will probably “be with us always.”
We can no more hope, to eradicate or suppress it than to control an
earthquake or harness the winds and waves! Its existence being thus
palpable, is it not far wiser to frankly recognize and investigate
the phenomenon with a view to control, by judicious regulations, the
current of the vice and direct it into channels where it may be,
at least to a certain extent, grappled with and arrested, than to
foolishly close our eyes and refuse to discuss the subject on the
cowardly plea that we may possibly disturb the “conventionalities” by
publicly and fully investigating the evils of prostitution?
The author utterly denies the proposition that there can be any
impropriety in enquiring into the facts of a matter which virtually
affects, either directly or indirectly, the whole community; on
the other hand he affirms that much good may be done by collecting
facts and statistics which may prove of value to the legislator, the
philanthropist, and the clergy. Without adequate data, how can we ever
hope to devise measures of a preventative or ameliorative nature, and
how can such _data_ be obtained if we are all to be deterred from
necessary investigations by the mawkish sensibility of Mrs. Grundy?
Legislators of all nations, at different times, have apparently
endeavoured to crush out or control prostitution, and by various
high-handed methods sought to single out and distinguish, for the
alleged protection of the public, women known to be guilty of leading
a professedly abandoned life. Moses, the great Jewish law-giver,
hurled cruel and oppressive edicts against improper unions among the
children of Israel. Greece made the _Disteriads_ wear a distinguishing
costume, and, branding these women with infamy, made regulations by
which they were subjected to the control of the municipal police, and
were forbidden to offend the public by open indecency. Rome required
the registration of its prostitutes, who, under the directions of
the _Ædile_ were forced to wear special garments and to dye their
hair a certain colour. Mediæval Europe tried (among other gentle (!)
measures) sumptuary laws, banishment, scourging, branding, the stake,
the gibbet, the block, outlawry; while the spiritual powers launched
against prostitution all the terrors of religious anathema, threatening
physical torment and strict excommunication in this world, and in the
world to come everlasting damnation!
Modern Europe, while outwardly wearing a spotless garment of
professed self-righteousness, and turning up its goggling eyeballs in
sanctimonious horror at the bare suggestion of anything being amiss
with _its_ morality, knows well enough that its various Governments
are secretly struggling with the problem through their police, and
that the latter have found no satisfactory solution of the matter
notwithstanding many serious essays.
Thousands of miles away from Europe, and practically cut off from all
intercourse with the rest of the world at large, the Japanese, found
themselves confronted with the same problem and, after various attempts
at control, they endeavoured to solve the question in a manner far
more practical than that of the Europeans. They were astute enough to
see that human passions could not be changed by human legislation,
and instead of attempting impossibilities they started in to limit
and control what they knew they had not the power to prevent; so,
with the object of rendering the evil as inoffensive as possible, the
authorities decided upon setting aside certain areas within which
prostitutes were allowed to pursue their calling subject to various
stringent laws. These quarters were fenced in and moated, their great
gateways carefully guarded, and so successful did the system prove in
many respects that it has been maintained (with certain modifications)
up to the present day.
Human nature is fixed and immutable, is, always was, and ever will
be the same; and while race environment and education may affect its
outward form, the _animal_ man is essentially the same throughout the
entire globe. This being so, it is evident that the experience of one
nation or country may often be of considerable value to other peoples
if accepted and applied _mutatis mutandis_ to the circumstances and
needs of the latter; thus it is always well to investigate the results
of institutions foreign to our own in a candid and receptive frame
of mind before concluding that we possess a monopoly of wisdom in our
own home lands. Moreover, human nature is so constituted that when a
separate community is established in such a manner as to be practically
unaffected by pressure from the outside, its units are sure to
co-operate, however unconsciously, in moulding new customs and habits
and even superstitions, which gradually crystallize into time-honoured
precedents by immemorial usage. The Yoshiwara, during its three
centuries of existence, proved no exception to the rule, and in the
course of years its inhabitants became slaves to numberless precedents,
with the result that some extraordinary customs were developed and
even yet linger on in a modified form. A serious consideration of
these facts induced the author to believe that it would be of value
to students of sociology throughout Europe and America to be provided
with all available _data_, as to the ins and outs and the working of
this unique and purely native Japanese system of control—a system of
which the Westerners have had no experience whatsoever. The result of
his labours was “_The Nightless City_” this new edition of which he now
publishes together with an appendix which brings the work up to date so
far as is possible.
The author’s best thanks are due to Prof. Dr. Tōichirō Nakahama,
Director of the “_Kai-Sei-Byō-in_” and Member of the Central Board of
Health, who kindly furnished certain medical statistics and _data_.
He also desires to express a deep debt of gratitude to Mr. E. Beart
for lightening his task by assisting in seeing the book through the
press, and has pleasure in acknowledging the strenuous endeavours of
the Box of Curios Printing & Publishing Company in producing in Japan,
notwithstanding certain drawbacks and disadvantages, a handsome volume
worthy of the great printing houses of London or New York.
The Author.
Kamakura, December, 1905.
[Illustration: Present Plan of the Yoshiwara.]
[Illustration: Procession of Courtesans.]
History of the Yoshiwara Yūkwaku.[1]
It was not until after the City of Yedo had become the seat of the
Tokugawa government that regular houses of ill-fame were established,
and up to the period of Keichō (1596–1614) there were no fixed
places set apart for brothels and assignation houses. Under these
circumstances, the brothels of Yedo were to be found scattered all over
the city in groups of twos or threes, but among the many localities in
which such stews were situated were three spots where the houses were
to be found in larger numbers plying their shameful trade side by side.
(1.)—In Kōjimachi, hat-chō-me, there were fourteen or fifteen houses:
these had been removed from Roku-jō in Kyōto.
(2.)—In Kamakura-gashi (Kanda district) the numbers of houses was the
same as in Kōjimachi: these had been removed from Miroku-machi of
Fuchū (now Shidzuoka?) in Suruga province.
(3.)—In Uchi-Yanagi-machi, near Ōhashi (Ōhashi is now the Tokiwa-bashi
gate, and Yanagi-machi is now Dōsangashi-dōri) there were twenty
houses. This group was inhabited by Yedo women exclusively. It is
stated by some writers that the name of this street “Yanagi-machi”
(Willow Street) was derived from the fact that at the entrance of the
street stood two gigantic weeping-willows. Prior to this date, in
the period of Tenshō (1573–1591), a person named Hara Saburōzaemon
had established a brothel quarter at Made-no-Koji, Yanagi-no-baba, in
Kyōto, but although it is true that the name of Yanagi-machi was given
to this place, the Yanagi-machi of Yedo did not derive its title from
the one in the Western city.
In the 10th year of Keichō (1605) Yanagi-machi was selected by the
Government in connection with the construction of the castle of Yedo,
and consequently all the brothels were removed to a place in front of
the Moto-Seigwanji (temple).
As Yedo prospered and her population increased, various enterprising
individuals gradually arrived from Shumoku-machi in Fushimi,
Kitsuji-machi in Nara, and other places near Kyōto, and established
themselves in the brothel-keeping business.
But as Yedo still grew more and more prosperous and thriving, and her
marts busier, various municipal improvements were projected, numerous
new roads were opened, and bridges constructed, and, as gradually the
work of organizing the urban districts progressed, many houses had to
be pulled down; consequently large numbers of persons were forced to
remove their residences. Under these circumstances, the brothel-keepers
considered the moment to be an opportune one for the presentation to
the powers that were of a petition requesting the Government to allow
of the collection, into one special locality, of the Yedo _demi-monde_.
They therefore petitioned the authorities to establish a regular
_Keisei-machi_,[2] but their petition was unsuccessful and matters
remained _in statu quo_.
In the 17th year of Keichō (1612) a certain _Shōji Jinyemon_ (a native
of Odawara in Sagami province) conceived the idea of collecting all
the brothels and assignation houses of Yedo into one special quarter
of the city, and after many consultations with his _confrères_ (for
this gentle “reformer” was in the “profession” himself) he made a
representation to the Government to the effect that:—
“In _Kyōto_ and in _Suruga_, and also in all other thickly populated
and busy places (to the number of more than twenty) there have been
established, in accordance with ancient custom and precedent, regular
licensed _Keisei-machi_, whereas in _Yedo_, which is growing busier
and more populous day by day, there is no fixed _Yūjo-machi_.[3] In
consequence of this state of affairs houses of ill-fame abound in
every part of the city, being scattered hither and thither in all
directions. This, for numerous reasons, is detrimental to public
morality and welfare, _etc._, _etc._”
The petitioner further enumerated the advantages which would be gained
by the system he advocated, and he submitted a memorandum of reasons
and arguments divided into three headings, the substance of the same
being:—
“(1.) As matters stand at present, when a person visits a brothel
he may hire, and disport himself with, _Yūjo_ (_filles de joie_) to
his heart’s content, give himself up to pleasure and licentiousness
to the extent of being unable to discriminate as to his position and
means and the neglect of his occupation or business. He may frequent
a brothel for days on end, giving himself up to lust and revel, but
so long as his money holds out the keeper of the house will continue
to entertain him as a guest. As a natural consequence, this leads to
the neglect of duty towards masters, defalcations, theft, etc., and
even then the keepers of the brothels will allow the guilty guests to
remain in their houses as long as their money lasts. If brothels
were all collected into one place a check would be put to these
evils, as, by means of investigation and enquiry, a longer stay than
twenty-four hours could be prohibited and such prohibition enforced.
“(2.) Although it is forbidden by law to kidnap children, yet, even
in this city, the practice of kidnapping female children and enticing
girls away from their homes under false pretences is being resorted
to by certain vicious and unprincipled rascals. It is a positive
fact that some evil-minded persons make it a regular profession to
take in the daughters of poor people under the pretext of adopting
them as their own children, but when the girls grow-up they are sent
out to service as concubiness or prostitutes, and in this manner the
individuals who have adopted them reap a golden harvest. Perhaps
it is this class of abandoned rascals that even dare to kidnap
other people’s children? It is said to be a fact that there are
brothel-keepers who engage women knowing perfectly well that they
are the adopted children of the parties who wish to sell the girls
into prostitution. If the prostitute houses be all collected into one
place, strict enquiries will be made as to the matter of kidnapping
and as to the engagement of adopted children, and should any cases
occur in which such reprehensible acts are attempted, information will
be immediately given to the authorities.
“(3.) Although the condition of the country is peaceful, yet it is not
long since the subjugation of _Mino_[4] province was accomplished, and
consequently it may be that there are many _rōnin_[5] prowling about
seeking for an opportunity to work mischief. These ruffians have, of
course, no fixed place of abode and simply drift hither and thither,
so it is impossible to ascertain their whereabouts in the absence
of properly instituted enquiries even although they may be staying
in houses of ill-fame for a considerable number of days. If the
authorities grant this petition, and permit the concentration of the
existing brothels in one regular place, the brothel-keepers will pay
special attention to this matter and will cause searching enquiries
to be made about persons who may be found loafing in the prostitute
quarters: should they discover any suspicious characters they will not
fail to report the same to the authorities forthwith.
“It will be deemed a great favour if the august authorities will grant
this petition in the fulness of their magnanimous mercy.”
In the following spring (1613) Shōji Jinyemon was summoned to the
Magistrate’s Court and examined on various points by Honda Lord of
Sado, after which he was informed that the result of the petition would
be made known at a later date. He was then dismissed.
In the spring of the 3rd year of Genna (1617) Jinyemon was again
summoned to the Court and, in the presence of several other judicial
officials, Honda Lord of Sado notified him that the petition was
granted. He was also informed that two square _chō_ of land would be
devoted to the purpose of founding a prostitute quarter, and that the
site had been selected at Fukiya-machi. In return for this privilege,
Jinyemon promised that no prostitutes should be allowed in the city
of Yedo and neighbourhood except in the licensed quarter, and further
covenanted that in case of any of the women being found elsewhere the
matter should be communicated to the authorities, as in duty bound,
either by himself or by the other brothel-keepers. At the same time,
Shōji Jinyemon was appointed _Keisei-machi Nanushi_ (director of
the prostitute quarter) and was instructed by the _Bugyō_ (Governor
possessed of administrative, military, and judicial functions) to
observe the following regulations:—
“(1.) The profession of brothel-keeping shall not be carried on in
any place other than the regular prostitute quarter, and in future
no request for the attendance of a courtesan at a place outside the
limits of the enclosure shall be complied with.
“(2.) No guest shall remain in a brothel for more than twenty-four
hours.
“(3.) Prostitutes are forbidden to wear clothes with gold and silver
embroidery on them; they are to wear ordinary dyed stuffs.
“(4.) Brothels are not to be built of imposing appearance, and the
inhabitants of prostitute quarters shall discharge the same duties (as
firemen, etc.,) as ordinary residents in other parts of _Yedo_ city.
“(5.) Proper enquiries shall be instituted into the person of any
visitor to a brothel, no matter whether he be gentleman or commoner,
and in case any suspicious individual appears information shall be
given to the _Bugyō-sho_ (office of the city Governor).
“The above instructions are to be strictly observed.
“(Date ___________) The _Bugyō_.”
On the low land of Fukiya-chō, which was thus granted by the
authorities, now stand Idzumi-chō, Takasago-cho, Sumiyoshi-chō, and
Naniwa-chō, and the _ko-hori_ (or small ditch) at Hettsui-gashi which
was once the outer moat of the prostitute quarters. The present
Ō-mon-dōri (Great Gate Street) was formerly the street leading to the
Ō-mon (Great Gate). At the time about which I am writing the place was
one vast swamp overrun with weeds and rushes, so Shōji Jinyemon set
about clearing the Fukiya-machi, reclaiming and filling in the ground,
and building an enclosure thereon. Owing to the number of rushes which
had grown thereabout the place was re-named Yoshiwara (葭原 = Rush-moor)
but this was afterwards changed to Yoshi-wara (吉原 = Moor of Good luck)
in order to give the locality an auspicious name.
The work of filling in and levelling the ground, and the construction
of houses, was commenced in the 3rd year of Genna (1617) and by
November of the following year “business” commenced. The work of laying
out the streets and completing the quarters was not however finished
until the 9th day of the 10th month of the 3rd year of Kwan-ei (28th
November 1626).
The following were the names of the wards of the Yoshiwara:—
Yedo-chō, It-chō-me: This was the pioneer prostitute quarter
established in the city after the Tokugawa government had made Yedo
the seat of their administration; and in the hope and expectation of
sharing in the prosperity of the city itself the felicitous name of
Yedo-chō (Yedo ward) was chosen as appropriate for the new ward. All
the houses at Yanagi-chō removed to this Yedo-chō, and among them was
the “Nishida-ya” (House of the Western Ricefield) which was kept by
Shōji Jinyemon himself.
Yedo-chō, Ni-chō-me: To this ward (Second ward of Yedo-chō) were
transferred all the houses formerly kept at Moto-Kamakura-gashi.
Kyōmachi, It-chō-me: To this ward were transferred the houses at
Kōjimachi. The majority of these establishments having had their origin
in Roku-jō, Kyōto, the ward was named Kyō-machi, thus using the first
character 京 (Kyō) of Kyōto and preserving the old association with the
capital.
Kyōmachi, Ni-chō-me: The brothelkeepers of Hisagomachi in Ōsaka,
Kitsuji in Nara, and other localities, having heard of the opening of
the Yoshiwara, many of them immigrated to this place. The buildings
in this ward were completed two years later than those in the other
streets, and accordingly this ward was commonly called Shim-machi (新町
New Street).
Sumi-chō: The brothels at Sumi-chō, Kyōbashi, having been removed to
this ward, the name of the original place was copied when “christening”
the new street.
After many vicissitudes, the brothel-keepers believed that they had
now found an abiding place, and that no further changes would be made,
but they were doomed to disappointment. On the 19th day of the 10th
month of the 2nd year of Meireki (4th December 1656) Ishigaya Shōgen,
the Bugyō, summoned the elders (_toshi-yoridomo_) of the Yoshiwara and
informed them that the existing site of the prostitute quarter being
required by the authorities for building purposes, the houses must
be removed elsewhere. Ishigaya added that, in lieu of the Yoshiwara,
the authorities were prepared to grant either a plot of land in the
vicinity of the Nihon-dsutsumi (Dike of Japan) behind the Asakusa
temple, or one in the neighbourhood of Honjō.
The representatives of the Yoshiwara people were filled with
consternation at the action of the government, and they submitted a
petition of grievances to the effect that the brothels had been in
existence for 44 years and that the keepers would be put to great
inconvenience and caused serious loss if they were suddenly forced
to remove to a remote district. After reciting the above facts, and
pointing out the injury which would be done to “vested interests,” the
petition wound up with a prayer that the authorities would be pleased
to permit the brothels to continue to ply their profession in the same
place as hitherto. This petition, however, was rejected, and after
mature deliberation the elders now applied for a grant of land at the
Nihon-dsutsumi: they also petitioned that a sum of money might be given
them from the public funds to assist their removal.
In response to the last petition, the authorities provided a suitable
site near Nilion-dsutsumi, and in consideration of the removal of
the houses to such a distant and out-of-the-way locality, Ishigaya
Shōgen, and Kamio, Lord of Bizen, agreed to the following conditions in
connection with the new Yoshiwara:—
“(1.) Hitherto the ground to be occupied has been limited to 2 square
_chō_: in the new place these limits will be increased by 50 per
cent., and extended to 3 _chō_ by 2 _chō_ (3x2).
“(2.) Whereas hitherto the profession has been allowed to be carried
on in the day-time only, in consideration of the quarter being moved
to such a distant place, it is in future permitted both day and night
alike.
“(3.) More than 200 _Furo-ya_ (風呂屋 = Bath-houses)[6] now existing in
the city shall be abolished.
“(4.) In consideration of the _Yoshiwara_ being removed to a distant
place, its people shall hereafter be exempted from the duties of
acting as guards against fire on the occasion of the festivals at
_Sannō_ and at _Kanda_, or as firemen in time of conflagrations, etc.
“(5.) The sum of 10,500 _ryō_ will be granted to assist the expenses
of removal, at the rate of 14 _ryō_ per small room.”[7]
It is very curious to note that Japan was not the only country where
shady “bath-houses” were to be found. In a German book by Wilhelm
Rudeck, entitled “_Geschichte der Oeffentlichen Sittlichkeit In
Deutschland_,” it is stated that “bath-honses” were plentiful. Early
in the morning a horn announced that everything was ready, and men,
women and maids undressed at home and went nearly naked to the
bath-houses, where the attendants were mostly girls who had a very
liberal idea of their duties. The tubs in many cases were large enough
for two, and a board was laid across, upon which food and drink was
served to the bathers, who were not compelled to produce a marriage
certificate. In the castles of the knights, the ladies often attended
on the male guests in the bath and _vice versa_, and in bathing
resorts, such at Wiesbaden, for instance, Frau Venus seems to have
reigned supreme. A very free illustration, reproduced from an old
volume, shows a row of tubs with a long board laid across them, upon
which food and drink is served, and there are other illustrations,
reproduced from old cuts, of some more than merely suggestive scenes,
which we must presume were nothing out of the common in bath-houses.
On the 27th day of the 11th month of the same year (January 11th, 1657)
the elders and monthly managers (月行司 = _tsuki-gyō-ji_) of the Yoshiwara
repaired to the Treasury office at Asakusa and received the sum granted
by the authorities to defray the expenses of removal: at the same time
they applied to the officials to be allowed to remain in the Yoshiwara
during the next three or four months, promising to complete the removal
by the following April.
The request being a reasonable one, it was granted, and the removal was
postponed until the fourth month, but on the 2nd March 1657 (Meireki
3 nen, Shōgwatsu, 18 nichi) Hi-no-to-tori (cycle of the Water Fowl)
that disastrous fire known as the “_Furisode kwaji_” (fire of the
long-sleeved garment) broke out in the Hom-myōji (temple) at Maru-yama
in Hongō and raged through the city of Yedo during three days and
three nights burning everything before it.[8] The fire swept away
a large portion of the city and gutted the Yoshiwara completely, so
there was no further excuse left for not moving forthwith. The head-man
of the Yoshiwara was again summoned to the Bugyō’s office and ordered
to take advantage of the fire to carry out the removal without further
delay.
In May 1657 Ishigaya Shōgen, Kamio Lord of Bizen, and Sone Genzaemon
proceeded to Nihon-dsutsumi to inspect the site of the new quarter,
and while the houses were being built and prepared temporary shanties
called “Koya-gake” (小屋掛 = a temporarily built shed or house) were
erected in the neighbourhood of Sanya and Imado, and in these (and also
in private houses which were hired for the purpose) the loathsome
trade was carried on as usual.
In September 1657, the new brothels were completed and the “profession”
crowded into the “Shin-Yoshiwara.”
The “Shin-Yoshiwara” (new Yoshiwara) was so named in contra-distinction
to “Moto-Yoshiwara” (former Yoshiwara). It is situated at a place
formerly known as Senzoku-mura and is only a few _chō_ distant from the
Asakusa-ji (temple).
There is a hill (or rather slope) leading down from the Nihon-dsutsumi
on the way to the Shin-Yoshiwara which is called “Emon-zaka” or
“Dress(ing) Hill,” because it is supposed that visitors to the gay
quarter began to adjust their garments and smarten themselves up in
passing along this road. Another account states that the name was taken
from the Emon-zaka of Kyōto.
The road leading from Emon-zaka to the Yoshiwara is known as
Gojikken-machi. Tradition says that there was a servant named Koheiji
in the employ of Shōji Jinyemon (the founder of the quarter) and that
he advised his master to construct the road in three curved lines as
this was considered more tasteful than one constructed in a plain line.
Another tradition says that the road was constructed in that way in
accordance with the commands of Kamio Lord of Bizen, but, at any rate,
it is certain that the plan of the road was conceived by some person
gifted with a (from a Japanese point of view) poetical imagination. On
either side of the curved section of roadway twenty-five tea-houses
(cha-ya) were built, making a total of fifty houses (go-jik-ken),
hence the popular name “Go-jik-ken-michi” (fifty house street) or
“Go-jik-ken-machi” (fifty house town). At the end of the road stood a
gateway which formed the entrance of the Yoshiwara, and the vicinity of
this gateway was known as the Ōmon-guchi (entrance to the great gate).
The gate itself was called the Ō-mon (great gateway). Having passed
through the Ō-mon, the visitor would find himself within the precincts
of the “Shin-Yoshiwara.”
The Shin-Yoshiwara was about half as large again as the old place
(Moto-Yoshiwara), measuring about 3 _chō_ (1074 feet) from North
to South, and 2 _chō_ (716 feet) from East to West, and therefore
embracing nearly 18 acres of land. The enclosure was surrounded by
a kind of moat, and the streets within were laid out something in
the shape of the Chinese character 田 (_ta_ = a ricefield). As will
be seen from the plan of the Shin-Yoshiwara annexed, Nakano-chō
goes through the centre while Yedo-chō (It-chō-me and Ni-chō-me),
Sumi-chō, and Kyō-machi (It-chō-me and Ni-chō-me) branch out to right
and left on either side. As was the case with the Moto-Yoshiwara,
another street was added for the convenience of “_Age-ya_,” and called
“Ageya-machi.”[9] This street was situated opposite Sumi-chō, to the
right of the Naka-no-chō when facing Suidō-jiri.
In the 8th year of Kwambun (1668) a raid was made on the “jigoku”
(unlicensed prostitutes) and the captives were transported to the
Yoshiwara, but as they numbered 512 souls it was difficult to find
accommodation for them and apparently there was not enough room in the
quarter to erect new brothels. Under these circumstances, a little
plot of ground was requisitioned at the back of each brothel in
Yedo-chō Ni-chōme, and some seventy-five small houses were built there
for the reception of the new immigrants to this earthly paradise. As
the majority of the these fresh arrivals were natives of Fushimi and
Sakai, the streets where their houses stood were called Fushimi-chō and
Sakai-machi. Sakai-machi was destroyed by fire during the era of Meiwa
(1764–1771) and has ceased to exist, but Fushimi-chō is to be seen to
this day.
At first the five streets of the Shin-Yoshiwara consisted wholly of
brothels, Ageya-machi of “_age-ya_” and Naka-no-chō of tradesmen’s
stores, but as time rolled away the “_age-ya_” ceased to exist and in
their place sprang up “_cha-ya_” (tea-houses). Gradually, also, the
shopkeepers in Naka-no-chō removed elsewhere and their stores were
turned into tea-houses. Subsequently tea-houses began to increase in
number at Ageya-machi, and nowadays there are even many brothels to be
seen in this street.
The following extract from the “Tsuikō Yoshiwara Taizen” (追考吉原大全 an old
descriptive book on these matters) may be of interest to my readers:—
“The corner between _Maka-no-chō_ and _Yedo-chō It-chō-me_ and
_Ni-chō-me_ is called “_Machi-ai no tsuji_, or “Waiting lane” because
the women used to sit down here before their houses waiting for
guests. * * * * * The corner of _Yedo-chō Ni-chō-me_ was called the
_Ao-mono Ichiba_ (Vegetable Market) and that of Sumi-chō the “_Sakana
Ichiba_” (Fish Market) because during the day-time green-grocers
and fishmongers were in the habit of assembling in those places.
In the summer evenings dealers in fire-flies (_hotaru-uri_) would
also be found hanging around these streets. As to the origin of the
_Suido-jiri_ (“End of the Aqueduct”) it is said that formerly there
were no wells in the Yoshiwara and that all the water used there had
to be carried from the wells at _Jariba_ and _Tambo_, but in the eras
of _Genroku_ (1688–1703) and _Hōyei_ (1704–1710) the famous _Yedo_
merchant prince—_Kinokuni-ya Bunzayemon_—caused a well to be sunk in
the compound of _Owari-ya Seijūrō_ in _Ageya-machi_ for the first
time, with the result that a plentiful supply of water was provided.
* * * * * As the pipes in which this water was conducted to the various
portions of the _Yoshiwara_ terminated at the end of _Naka-no-chō_,
the name “_Suidō-jiri_” (see above) was given to that spot.” The
“_Jisekigōkō_” 事蹟合考 (another book) says:—“The name of _Suidō-jiri_ did
not originate in the _Moto-Yoshiwara_, but in the _Shin-Yoshiwara_. In
the plans of the old _Yoshiwara_, however, it would seem that a place
with a similar name did actually exist, and so it is mentioned here
for the sake of reference. The street, along the creek at _Kyō-machi
It-chō-me_ is called _Jōnen-gashi_ which name is said to have been
derived from the name of a son of the Headman, _Shōji Jinyemon_, who
formerly had his residence there.”
[Illustration: 狎客之㘴舖 Artist Painting Mural Decorations in a
Brothel.]
“The “_Kiyū Shōran_” 嬉遊笑覽 (another book) says:—During the era of
_Kwanbun_ (1661–1672) the “_san-cha_” (a class of low and cheap
prostitutes about whom an explanation is given elsewhere) came into
existence, and at the same period, on the application of _Genyemon_,
headman of _Kyō-machi_, new houses were built at _Sakai-machi_,
_Fushimi-chō_, and _Minami-chō_. The first street was so named because
it was situated on the border (_sakai_) of _Sumi-chō Ni-chō-me_,
the second on account of the forefathers of the elders of the
street[10] (_Yamada-ya Yamazaburō_, _Yamaguchi-ya Shichiroemon_,
_Adzuma-ya Jihei_, and _Okada-ya Kichizaemon_) having come over to the
_Yoshiwara_ from _Kotobuki-chō_, _Bungo-bashi_, etc., in _Fushimi_,
at the time of the founding of the _Yoshiwara_. The street along
the creek at _Kyō-machi It-chō-me_ is called the _Nishi-gashi_ in
remembrance of a younger brother of _Shōji Jinyemon_, (founder of the
_Yoshiwara_) named _Tachibana-ya Sainen_, having lived there.[11]
The street along the creek at _Kyō-machi Ni-chō-me_, known as
_Rashōmon-gashi_—or more commonly as “_Waru-gashi_” (the wicked
creek-side)—was so-called owing to the fact that there was a small
brothel there—named “_Ibaraki-ya_”—the inmates of which used to
accost passers-by and clutch tenaciously at their sleeves, somewhat
after the fashion of the warrior _Watanabe no Tsuna_ who seized
the arm of an ogre and cut it off in the course of his well-known
adventures at the _Rashō-mon_, near _Kyōto_.[12] The _Tenjin-gashi_.
was situated at _Suidō-jiri_, and here there were some 25 low brothels
established. This creek-side was called “_Tenjin-gashi_” after
_Sugawara-no-Michizane_, a great scholar who had been deified and
whose festival fell on the 25th of each month.”[13]
Nihon-dsutsumi.
(_The Dyke of Japan._)
It is mentioned in the “Dōbō Goyen” 洞房語園 that there was an hereditary
farmer at Minowa named Shibazaki Yohei, and according to his story he
had heard from his grandfather that the Nihon-dsutsumi was constructed
about a hundred years ago in the year of the “large monkey.” Now
countrymen often call the year of Kōshin the “year of the large
monkey,” so the year referred to by Yohei’s grandfather may be the 7th
year of Genna (1621). It is also mentioned, in a supplement to the
book, that the characters formerly used in writing the name were 二本
(ni hon = 2 lines) and not 日本 (Nihon = Japan), because there were two
roads one of which led from Shōden-chō to Sanya-bashi. As, however,
Yedo increased in prosperity, hills were levelled and canals dug, after
a while the road to Sanya-bashi disappeared as part of the changes made
in the city; and accordingly the characters 二本 were altered to 日本 in
describing the remaining road. At the time of the construction of the
Nihon-dsutsumi, a large number of lacquer-trees (_urushi-no-ki_) were
planted on both sides of the road, forming a veritable avenue,[14] and
it was a common joke to warn an _habitué_ of the Yoshiwara by saying
significantly—“When you pass along the Sanya road, mind you don’t get
poisoned by lacquer!” The bank commenced at Shōden-chō in the West
and Yoshino-machi (Asakusa) in the East, and extended to Harajuku
(Shitaya), the total length being 834 Ken (5004 feet), the width of the
road 10 Ken (60 feet) and the horse-path 5 Ken on the average (30 feet).
Mi-kaeri Yanagi.
(_Gazing back Willow-tree._)
This well-known willow-tree stands at the entrance of Go-jik-ken-machi,
on the left, below the Nihon-dsutsumi. It has been so called because
many a visitor to the Yoshiwara has looked regretfully back as he
passed the willow tree, feeling reluctant to leave the pleasures of the
quarter and to be separated from his fair, even though frail, inamorata.
[Illustration: 狎客之㘴舖 A Familiar Guest. Period of Kiōwa (1801 to
1803). (_After the Picture by Kitagawa Utamaro._)]
Yoshiwara Jinja.
(_Yoshiwara Shrine_.)
This is situated on the right hand side of the Go-jik-ken-michi.
Formerly there was on this site a shrine called Yoshitoku Inari, but
of late years the Enomoto Inari (at the corner of Yedo-chō Ni-chō-me)
the Kai-un Inari (at the corner of Kyō-machi, It-chō-me) the Kurosuke
Inari (at the corner of Kyō-machi Ni-chō-me) and the Akashi Inari (at
the corner of Yedo-chō Ni-chō-me—Fushimi-chō) were all amalgamated
into one. The name of “Yoshiwara Jinja” was given to the new shrine
and it has been made the guardian shrine of the “enclosure.” Every
twelve days, on the day of the horse, the festival of this shrine is
celebrated, crowds of people visit the neighbourhood including sundry
itinerant dealers known as “_ennichi akindo_” (festival dealers) and
the fête has become one of the popular features of the Yoshiwara.
According to the _Shimpen Yedo-shi_,” (新編江戶志) the Kurosuke Inari was in
the old Yoshiwara, having been founded in the 4th year of Wadō? (711?).
Later on, a person named Chiba Kurosuke removed it to a space on the
border of a paddy-field, and since the establishment of the Yoshiwara,
in the era of Keichō (1596–1614), this Inari became the guardian deity
of the prostitute quarter. Again, according to the “_Kwagai Manroku_”
(花街漫錄) the shrine of the Kurosuke Inari was situated beneath Kyō-machi
Ni-chō-me since its removal from the old to the new Yoshiwara, and
about the era of Tenna (1681–1683) it began to be called “Kurosuke”
Inari because a man called Kurosuke lived in front of the building.
As to the origin of the “_Byakko-seki_” (white fox stone) of
the Akashi-Inari—which was the presiding deity of Yedo-chō
Ni-chō-me—its shrine formerly stood on the estates of a certain Mr.
Nishimura, but at the request of the local inhabitants to consecrate it
shrine of the guardian deity it was removed to the present site. While
the shrine was in course of construction a curiously shaped object was
unearthed, and on closer examination it was found to be a beautiful
blackish coloured stone resembling the figure of a _byakko_ (white
fox) gambolling in the fields. The people, thinking this a good omen,
consecrated the image under the name of Akashi Inari (明石 = _aka-ishi_
“the bright stone,” or even, by forced rendering, “the bright and
revealed stone”) and prayed to it as a god which would bring prosperity
and good-luck to the town and protect the quarter from disastrous fires.
The “Aisome-zakura.”
(_Cherry-tree of first meeting._)
AND
The “Koma-tsunagi-matsu.”
(_Colt teathering pine-tree._)
The above trees stand close to the Yoshiwara shrine.
The “Ryo-jin no Ido.”
(_Traveller’s Well._)
This well is situated about the centre of the Go-jik-ken-michi, on the
right hand side.
Government Edict-board and Regulations at the Ōmon.
Up to the time of the Restoration—some 30 odd years ago—the following
official regulations were posted up before the Ō-mon (great gateway) of
the Yoshiwara:—
[Illustration: The “_Ō-mon_” or Entrance Gateway of the Yoshiwara.]
“Persons other than doctors are forbidden to enter riding in _Kago_
(palanquin) or _norimono_ (sedan chair).
“Long weapons are forbidden.”[15] [This meant spears or long swords,
and also other warlike weapons which formed part of the ordinary
paraphernalia of a _Daimyō’s_ (noble’s) train.]”
The Present Ōmon.
On the present Ō-mon (great gateway) are inscribed the following
characters from the pen of Mr. Fukuchi Genichirō (a well-known
playwright) better known under his _nom de plume_ of “Ōchi Koji”:—
春夢正濃滿街櫻雲。 秋信先通兩行燈影
“_Shum-mu masa ni komayaka nari, mangai no ō-un. Shū-shin saki ni tsūzu
ryōkō no tō-yei_,” or freely translated into English:—
“_A dream of Spring-tide when the streets are full of the cherry
blossoms. Tidings of the autumn when the streets are lined on either
side with lighted lanterns._”
This poem is a eulogy composed of four sentences each containing
four Chinese characters, the style being an imitation of that of the
blank verses which were in vogue in the _Tsin_ dynasty. The depth of
meaning conveyed by these sixteen ideographs is almost incredible to
the uninitiated, and to explain the full sense of the composition in
English is well-nigh impossible. The words which are rendered “_A
dream of Springtide when the streets are full of the cherry blossoms_”
refer to the custom of planting cherry-trees right down the centre of
the _Naka-no-chō_ from the main gateway (_Ō-mon_) to _Suidō-jiri_.
The cherry trees are in full bloom about the first week in the third
month (according to the old calendar—now April) and when one then
glances down the avenue at night, after the place is lighted up
with thousands of brilliantly coloured lanterns and flashing electric
lamps, the whole quarter appears as if smothered in flowers. The
commingling blossoms, seemingly transmuted into dense masses of soft
and fleecy cloud, braid the trees in a wealth of vernal beauty, and
the gay dresses both of the unfortunate women, and those of the
passers-by, ever kaleidoscopic in effect and vividly oriental in
colour, all go to make up a scene at once strange, fascinating, and
well-nigh dream-like in character. The women in the Yoshiwara are
likened in a certain poem to “_cherries of the night which blossom
luxuriantly_,” and their power of fascination is expressed by another
poem which says “_Cherry blossoms of the night at length become those
of the morning and again those of the night_”: and yet another poem
runs—“_Naka-no-chō, where the night-cherries_ (courtesans) _blossom
luxuriantly_.” There is a _double entendre_ in the sentence, for the
words not only refer to the intermingling cherry blossoms in the
_Naka-no-chō_ but imply that joy and pleasure is to be found in “_A
dream of spring, in a town inhabited by beautiful and voluptuous
women to whom their lovers cleave as the commingling blossoms of the
cherries blend together._” The poem also implies an indirect allusion
to an episode in the life of one of the Chinese Emperors, who was
distinguished for his Solomon-like proclivities in his admiration
for the fair sex, and the harem of ravishingly beautiful damsels he
kept at Fuzan.[16] The words “_Tidings of the autumn when the streets
are lined on either side with lighted lanterns_” refer to the custom
of hanging out _tōrō_ (lanterns) in front of every tea-house in the
Naka-no-chō during one month from the 1st day to the last day of the
7th month (old calendar.) These _tōrō_ were first hung out as an
offering to the soul of one Tamagiku, a popular courtesan in olden
days. When one enters the great gate at the time of this festival
it is a very pretty sight to see the rows of lanterns after they
are lighted up. Some of these lanterns bear pictures by celebrated
painters and are therefore quite works of art, and the effect of the
display is heightened at times by artificial flowers being placed
between them. It is said that the approach of Autumn is heralded by
the cry of the wild geese, but that it is also foretold by the display
of lanterns in the Naka-no-chō during the festival of the dead. The
sight of these lanterns moreover remind the sightseers of the words of
an old poem which runs—“_Alas! it is the night when the dead Tamagiku
comes to visit the tōrō._”
Of the Reason Why Going to the Yoshiwara was Called
“Chō ye yuku.”
In the “Yoshiwara Ō-kagami,” (吉原大鑑 “Great Mirror of the Yoshiwara”)
it is mentioned that the origin of the common expression in former days
of “Chō ye yuku” (going to Chō)—meaning “going to the Yoshiwara”—was
as follows: Formerly the streets of the Yoshiwara were laid out in
the shape of a cross, but afterwards one of the entrances was closed,
changing the cross into a shape like that of the Chinese character
“Chō” (丁), hence the saying. In later times this expression was
changed, and nowadays people speak of going to the Yoshiwara as “_naka
ye yuku_” (to go inside).
Classes of Brothels.
In ancient times the houses were classified according to the position
and standing of their inmates. As we mention elsewhere, the courtesans
were formerly classed as Tayū, Kōshi-joro, Tsubone, Sancha-joro,
Umecha-joro (also read “Baicha-joro”) and Kirimise-joro, and in a
similar manner brothels were also divided as Tayū-mise, Kōshi-mise,
Tsubone-mise, Sancha-mise, Umecha-mise (or “Baicha-mise”) Kiri-mise,
etc. Afterwards, the name of the Tayū-mise and Kōshi-mise was changed
to “Yobidashi,” and the “Umecha-mise” having disappeared the so-called
“Zashiki-mochi” and “Heya-mochi” came into existence. After the era
of Kwansei (1789–1800) the following classes of brothels sprang into
existence:—1st class:—Ōmagaki; 2nd class:—Ham-magaki; 3rd class:—Dai-chō
ko-mise; 4th class:—Kogōshi; 5th class:—Kirimise, etc. Courtesans
classed as Yobidashi, Hirusan, and Tsuke-mawashi belonged to the
Ōmagaki, while the Zashiki-mochi and Heya-mochi were attached to
the Dai-chō ko-mise.
The style of architecture employed in the erection of the
“Tsubone-mise” is elaborately described in the “_Dōbō Goyen_,” (洞房語園)
and the fact that the general features of the “Sancha-mise” were
similar to those of the Furo-ya in the city is also mentioned in
the same book. After the era of Kwansei (1789–1800) the classes of
brothels, it appears, were determined according to the height of the
bars of the cages. The highest _magaki_ (籬) are said to have reached
to the ceiling while the lowest were about 2 feet high. The wood used
in the lattice window of an _Ō-magaki_ (a first-class house with bars
running up to the ceiling) was about 8 inches in width and was painted
red. The houses themselves were generally as large as 13 _ken_ by 22
_ken_ (78 x 132 ft). The lattice bars of the lower class houses, on the
contrary, were 3 inches in width and therefore these houses were called
Ko-gōshi (small lattices). The lowest class houses had bars which ran
horizontally instead of vertically. These distinctions were maintained
up to the time of the general liberation of prostitutes in the 5th year
of Meiji (1872) but since that time the brothels have been classified
as either _Ō-mise_, _Chū-mise_, or _Ko-mise_ (Large, medium, and small
“shops.”)
At present there is no uniform style of architecture, but as the better
class of houses are naturally visited by a superior class of guests,
the leading establishments are fine buildings, and are noted as much
for the luxurious character of their furniture and appointments as
for the beauty of the women who inhabit them. The best houses do not
exhibit the women in cages.
[Illustration: Street Scene in the “Naka-no-chō,” Yoshiwara.]
The following are the names of the 126 existing brothels of the
Yoshiwara (1899).
Ō-mise
(_First-class houses._)
Kado-ebi-rō in Kyō-machi It-chō-me.
Inamoto-rō “ Sumi-chō.
Daimonji-rō “ Yedo-chō It-cho-me.
Shinagawa-rō “ Ageya-machi.
Nomura-rō “ Kyō-machi Nichō-me.
Naka-mise
(_Second-class houses._)
Man-kwa-rō in Yedo-chō Nichō-me.
Hōrai-rō “ Ageya-machi.
Ai-idzumi-rō “ Sumi-chō.
Naka-gome-rō “ Kyō-machi Ni-chō-me.
Ko-mise
(_Third-class houses._)
Shin Hanai-rō in Yedo-chō It-chō-me.
Shō-yei-rō “ “ “
Shin Ichino-rō “ “ “
Nari-hisa-rō “ “ “
Sugimoto-rō “ “ “
Kikuya-rō “ “ “
Ichino-rō “ “ “
Shin Kinkwa-rō “ “ “
Kajita-rō “ “ “
Nishihashi-rō “ “ “
Yoshi-Inaben-rō “ “ “
Fuku-Suzuki-rō “ “ “
Fukurai-rō “ “ “
Katsu Nakagome-rō “ “ “
Shō-yū-rō “ “ “
Izutsu-rō “ “ “
Seikwa-rō “ “ “
Hanaoka-rō “ “ “
Moto Fujiyoshi-rō “ “ “
Fukuyosu-rō “ “ “
Kawa-tachibana-rō “ “ “
Kyōchū-rō “ “ “
Kyō-shin-rō “ “ “
Kiku-matsu-kane-rō “ “ “
Matsu-mi-rō in Yedo-chō Ni-chō-me.
Katsu-moto-rō “ “ “
Tama Mikawa-rō “ “ “
Tama Hanai-rō “ “ “
Tsune-Matsu-kane-rō “ “ “
Hikota-rō “ “ “
Ōsaka-rō “ “ “
Kiyo Fujimoto-rō in Yedo-chō It-chō-me.
Oto Hanai-rō “ “ “
Musashi-rō “ “ Ni-chō-me.
Hisa Hanai-rō “ “ “
Yawata-rō “ “ “
Ryūgasaki-rō “ “ “
Toku Hanai-rō “ “ “
Kikkō-rō “ “ “
Matsu Yebi-rō “ “ “
Sugito-rō “ “ “
Sumi-Yawata-rō “ “ “
Suke-Komatsu-rō “ “ “
Iwa Hanai-rō “ “ “
Moto Komatsu-rō “ “ “
Hanai-rō “ “ “
Asahi-rō “ “ “
Matsu-Nakagome-rō “ “ “
Tsuru-yoshi-rō “ “ “
Chisei-rō “ “ “
Fuji-yoshi-rō “ “ “
Naka-Hanai-rō “ “ “
Nakamura-rō “ “ “
Yū-sen-rō “ “ “
Kane Koshikawa-rō “ “ “
Manji-rō “ “ “
Kinkwa-rō “ “ “
Hira Hanai-rō “ “ “
Moto Kawachi-rō “ “ “
Shin Yoshiwara-rō in Yedo-chō Ni-cho-me.
Yasu Nakagome-rō “ “ “
Masui-rō “ “ “
Shin Ryū-ga-saki-rō “ “ “
Kyōsei-rō in Ageya-machi.
Ogawa-rō “ “
Nishi-naka-rō “ “
Sei-kwa-rō “ “
Takahashi-rō “ “
Naka Inaben-rō “ “
Kikumoto-rō “ “
Shin-Fujimoto-rō “ “
Hei-Daikoku-rō “ “
Seihō-rō “ “
Nari-Yamata-rō “ “
Masu-Kawachi-rō “ “
Nishioka-rō “ “
Hōrai-rō “ “
Kin-Nakagome-rō “ “
Ise-rō “ “
Sawa-Inaben-rō “ “
Owari-rō “ “
Tama Hōrai-rō “ “
Kiku Inaben-rō “ “
Yamada-rō “ “
Sawa Nakagome-rō “ “
Sada Kawachi-rō “ “
Shin-Matsu-Daikoku-rō “ “
Ume-man-rō “ “
Shimotake-rō “ “
Tanaka-rō “ “
Takeman-rō “ “
Tama-Kawachi-rō “ “
Aichū-rō “ “
Tatsu-Inaben-rō “ “
Shin-Inaben-rō “ “
Shin-Matsu-kin-ro “ “
Kame-Inaben-rō “ “
Toku-Inaben-rō “ “
Ni-masu-rō “ “
Shō-Nakagome-rō “ “
Tsuta-Inaben-rō “ “
Fuku-Yamato-rō “ “
Hiroshima-rō “ “
Niikawa-rō “ “
Naga-Idzumi-rō “ “
Takara-rō “ “
Matsuoka-rō “ “
Koshikawa-rō “ “
Daikoku-rō “ “
Tama-Kawachi-rō “ “
Shin-Ai-idzumi-rō “ “
Inaben-rō in Kyō-machi It-chō-me.
Shin-man-rō “ “ “
Ai-man-rō “ “ “
Shin-Fukuoka-rō “ “ “
Is-shin-rō “ “ “
Hyō-Daikoku-rō “ “ “
Toyo-Matsu-Kin-rō “ “ “
Matsumoto-rō “ “ “
Shin-Hōrai-rō “ “ “
Inage-rō “ “ “
Fujimoto-rō “ “ “
Man-nen-rō “ “ “
Yedo-rō “ “ “
Shin-Okamoto-rō “ “ “
Hoku-yetsu-rō “ “ “
Mikawa-rō “ “ “
Matsu-Owari-rō “ “ “
Sen-Inaben-rō “ “ “
Kimman-rō “ “ Ni-chō-me.
Matsuyama-rō “ “ “
Matsu-Kin-rō “ “ “
Sen-Nakagome-rō “ “ “
Matsu-Daikoku-rō “ “ “
Yoshida-rō “ “ “
Kawachi-rō “ “ “
Moto-Higashi-rō “ “ “
Koiman-rō “ “ “
Bitchū-rō “ “ “
Kane-Nakagome-rō “ “ “
Shin-Nakagome-rō “ “ “
Gyokusai-rō “ “ “
Waka-take-rō “ “ “
Kin-Hōrai-rō “ “ “
Shin-Adzuma-rō “ “ “
Tatsu-Komatsu-rō “ “ “
Kado-Owari-rō “ “ “
Hikite-jaya.[17]
(“_Introducing Tea-houses._”)
The business of _hikite-jaya_ is to act as a guide to the various
brothels, and to negotiate introductions between guests and courtesans.
There are seven of these introducing houses within the enclosure
(_kuruwa_) fifty in Naka-naga-ya, Suidō-jiri, and outside of the Ō-mon
(great gate).
[Illustration:
1. Entertainment given by a _Yūjo_ who has been Redeemed from a
Brothel.
2. Guests in a Tea-house Diverting themselves with Dancing Girls.
3. A Guest being conducted to a Brothel by the Servants of a
_Hikite-jaya_.]
Besides these there are many houses in Yedo-chō, Sumi-chō, Kyō-machi
(It-chō-me and Ni-chō-me) Ageya-machi, etc. The first-mentioned seven
houses are first-class, those in Naka-naga-ya second-class, while
those at Suidō-jiri and Gō-jik-ken are very inferior indeed. The
reception of guests, and arranging affairs for them, is attended to by
servant maids, three or four of whom are generally employed in each
_hikite-jaya_. As, of course, the reputation of the house depends
on these servant maids, their employers generally treat them very
considerately, well knowing that if the girls attend to their duties
satisfactorily the number of guests will continue to increase.
When a visitor arrives before the entrance of a _hikite-jaya_, the
mistress of the house and her maid-servants run to welcome him with
cries of “_irrasshai_” (you are very welcome!), and on entering the
room to which he is conducted (in case of his being a stranger) the
attendant will ask him the name of the brothel to which he desires to
go, as well as that of the particular lady he wishes to meet. If he
has no “friend” with whom he is acquainted, photographs are produced
for inspection and the guest chooses his _oiran_ from them. Then the
attendant will guide him to the brothel selected, act as a go-between
in negotiating for the courtesan’s favours, and after all preliminaries
have been settled will wait assiduously upon the guest throughout
the banquet which inevitably follows, taking care to keep the _saké_
bottles moving and the cups replenished. By and by, when the time
comes for retiring, the attendant conducts the guest to his sleeping
apartment, waits until the arrival of the “lady friend” and then
discreetly slips away and leaves the brothel. When one of these servant
maids takes charge of a visitor she becomes, for the time being, the
actual personal servant of such guest and attends to everything he
requires. To perform the services rendered by her is professionally
spoken of as “_mawasu_” (廻 to turn round, to move round) because she
goes bustling round in order to arrange a hundred and one matters for
the guest upon whom she is in attendance. If the guest calls _geisha_
(dancing and singing girls) the maid carries (supposing it to be
night-time) the _geisha’s samisen_ (guitar) and the guest’s night-dress
in the left hand, and a “_Kamban chōchin_”[18] and a white porcelain
_saké_ bottle (_haku-chō_)[19] in the right—a performance which
requires considerable experience to achieve successfully.
With the exception of the guests, no persons are allowed to wear _zōri_
(sandals) inside the brothels.
Of late it has become a rule that the office which manages all
affairs in the Yoshiwara shall distribute to the various tea-houses
registration books, of a uniform style, in which are to be minutely
recorded the personal appearance of visitors, status and place of
registration, profession, general figure and build, aspect, style of
clothes, personal effects (i.e. rings, chains, watches, etc., etc.)
The books are carefully ruled off in columned blanks headed:—“Nose,
Ears, Mouth, Status, Place of registration,” etc., etc.; and the
descriptions have to be written in under the respective headings. In
short, these books (for which, by the way, a charge of 20 to 30 sen is
made) are something like the usual Japanese hotel registers but more
complex and detailed, and when the blanks are faithfully filled up an
exceedingly good description of guests is secured. In all brothels
similar books are kept, and the duty of comparing the entries in these
with the entries in those of the _hikite-jaya_ devolves on the staff
of the Yoshiwara office. In addition to these duties there are a
good many harassing and vexatious police regulations to be observed
by the introducing houses. Should any _hikite-jaka_ keeper or employé
secretly introduce a guest who is in possession of explosives, a sword,
or poison, he is severely punished and caused no end of trouble. The
payment of the guest’s bill is made through the _hikite-jaya_ on his
return to the introducing house in the morning. The guest pays his
total bill to the _hikite-jaya_ and the latter squares up accounts
with the brothel. The strict rule is for the _hikite-jaya_ to settle
up these accounts daily with the brothels, but it has become a custom
with the majority to balance accounts only twice a month—viz:—on the
14th and 30th day of each month. In case of a frequent visitor being
without money, and unable to pay his bill, the _hikite-jaya_ will not,
as a rule, refuse him credit in consideration of the patronage he has
extended to the house and in anticipation of future visits. Sometimes,
however, it happens that a regular customer becomes heavily indebted to
a certain house, and turning his back on this establishment he seeks
for new pastures and fresh credit; but here the extraordinary secret
intelligence system upsets his calculations. Among these tea-houses
exists a kind of “honor among thieves” _esprit de corps_, and besides,
self-protection has forced the houses to give secret information to
each other where their mutual interests are threatened; so when a party
is in debt to one of the _hikite-jaya_ he will be boycotted by the
others. A smart hand may successfully pretend to be a new arrival in
the Yoshiwara once or twice, but his trick is sure to be discovered ere
long. Faithful service of employés is ensured in the Yoshiwara in a
similar manner. In case of a servant-maid employed in one house being
desirous to enter the service of another establishment, she must
first obtain the consent of her employer, and the master of the house
to which she wishes to go will certainly confer with the master of the
establishment she wishes to leave. In ordering food from a _dai-ya_ (a
cook-house where food is cooked and sent out to order), or in making
purchases from storekeepers in the Yoshiwara, a maid-servant belonging
to any of the _hikite-jaya_ requires no money with her because the
dealers all place confidence in the house from which she has come, and
this they know at once by the inscription on the lantern she carries.
Immediately an order is given by a maid-servant the goods are handed
over without the slightest hesitation, so under these circumstances
an evil-minded woman might resort to fraud without any difficulty;
but should she once be detected she would never again be able to get
employment in the Yoshiwara.
The fifty tea-houses outside the _Ō-mon_ (great gate) were in former
times called “_Kitte-jaya_” (ticket tea-houses) or “_Kitte-mise_”
(ticket shops); they were also colloquially termed in _Yedo_
slang—“_Yoshiwara no go-jū-mai kitte_” (the fifty “tickets” of the
Yoshiwara) because they had the monopoly of issuing tickets or passes
for the Yoshiwara. In a book called the “_Hyōkwa Manroku_” (萍華漫錄) it is
recorded that in the 3rd year of _Keian_ (1650) one of the tea-houses
named “_Kikuya_” (sign of the Chrysanthemum Flowers) issued tickets—or
rather passes—for the passage of women through the great gate. On one
of these old passes was written:—
+----------------------------------------+
| I certify that these six ladies belong |
| to the household of a gentleman who |
| patronizes my establishment. |
| |
| January 26th—. |
| Ticket-shop, |
| |
| To (signed) Kikuya Hambei. |
| The keeper of the great gate. |
+----------------------------------------+
It appears from this that every lady who wished to enter the precincts
for the purpose of sightseeing, or for any other reason, had to
obtain a pass from the tea-houses above-mentioned. Afterwards, the
“_Midzu-chaya_” (rest-houses) began to be built on the _Nihon-dsutsumi_
(Dyke of Japan) and as they gradually increased and prospered they
at length encroached upon the _Naka-no-chō_ where the tradesmen of
the quarter were living. This continued until the street came to
be monopolized by _Midzu-chaya_, and from the latter the present
_hikite-jaya_ were finally evolved. It is recorded that since the
era of _Genroku_ (1688–1703) the keepers of _funa-yado_ (a sort of
tea-house where pleasure boats are kept and let out on hire for
excursions and picnics) used to arrange for guests to go and come in
their river-boats, “and among the sights of Yedo were the long lines
of boats floating up and down the river with gaily-dressed courtesans
and the _jeunesse dorée_ of the city in them.” During the 8th year
of Kwambun (1668) all the unlicensed prostitutes in Yedo city were
pounced upon by the authorities and placed in the Yoshiwara, and about
this time the inconvenient custom of being obliged to visit brothels
through an _ageya_ was abolished. The tea-houses which had their
origin on the banks of the _Nihon-dsutsumi_, now acted as guides
(_tebiki_) to intending visitors to brothels, the old custom of the
place was broken, and the name of _hikite-jaya_ come into existence.
[The tea-houses belonging to the _Ageya_ which were removed from the
old Yoshiwara, and the “_Amigasa-jaya_” (see this heading further
on) which sprang into existence while the brothels were temporarily
situated at Sanya, after the _Furisode-kwaji_ (fire) of the era of
Meireki, are separate establishments.] In this way the newly evolved
tea-houses prospered greatly, and their influence grew apace until the
older houses in Ageya-machi began to lose their trade. No doubt but the
decadence of the older institutions is attributable to the superior
facilities afforded to guests by the new houses. In the old days the
tea-houses in Ageya-machi were allowed to construct balconies on the
second stories of their establishments for the convenience of those
guests who desired to witness the processions of courtesans (_Yūjo
no dō-chū_) that formed one of the most interesting features in the
life of the Yoshiwara. Prior to the fire of the Meiwa era (1764–1771)
the second stories of all the tea-houses in _Naka-no-chō_ were fitted
with open lattice-work in front, but subsequent to that memorable
conflagration this restriction was removed and the houses were built
so as to render them convenient for sight-seeing from the upper floor.
This freedom did not prove of much advantage to many of the houses,
however, as it was decided that the processions should thenceforward be
confined to the _Naka-no-chō_. In the 10th year of Hōreki (1760) the
“_Ageya_” completely disappeared, and the receiving of and arranging
matters for guests became the monopoly of the tea-houses. Taking
advantage of the position attained, the tea-houses abused their
prosperity and influence and allowed their establishments to be used
by courtesans, _geisha_, _taiko-mochi_, and various guests, for the
purpose of carrying on illicit intrigues and advancing amours between
men and women of loose morals. Not only this, but the houses allowed
their accounts with the brothels to fall into arrears, or made payment
in an unpunctual and perfunctory manner, and for these reasons many
were suspended from exercising their business. In the era of Tempō
(1830–1843) all food served to the guests in _hikite-jaya_ was prepared
on the premises by professional cooks in the service of the houses.
At present, a first customer to a tea-house is called “_shōkwai_”
(first meeting): the second time he comes “_ura_” (behind the
scenes) and the third time “_najimi_” (on intimate terms). According
to prevalent custom, guests have to pay a certain sum of money as
“footing” on their second and third visits, and persons who are
anxious to pass as “in the swim” are often willing to pay both these
fees (_ura-najimi-kin_ and _najimi-kin_) down at once. Ordinarily the
_najimi-kin_ is fixed at from 2-1⁄2 _yen_ or 3 _yen_, according to
the brothels to which a visitor wishes to go, and the tea-houses do
not guide visitors who do not patronize either a first (_ōmise_) or
second (_naka-mise_) class establishment. In addition to other small
fees the visitor is expected to give a tip of 20 or 30 _sen_ to the
maid who acts as his guide, but if he does not hand it over voluntarily
it is carefully included in his bill under the heading of “_o-tomo_”
(your attendant). _Jinrikisha_ fares advanced will also appear in the
bill (_tsuké_ = contraction of “_kakitsuke_” = an account, writing,
or memo) under the title of “_o-tomo_” (your attendant). Experience
of _hikite-jaya_ will convince visitors that these establishments
never fail to charge up every possible or impossible item in their
accounts: when a man is returning home in the morning with a “swollen
head” after a night’s debauch his ideas of checking a bill are
generally somewhat mixed up.
The expenses of planting flowers in the streets in Spring, setting up
street lanterns (_tōrō_) in Autumn, and maintaining street dancing
(_niwaka_) are defrayed by the tea-houses.
The profits of _hikite-jaya_ are chiefly derived from return
commissions on the fees paid to courtesans and dancing girls, and
percentages levied on the food and _saké_ consumed by guests. (A large
profit is made upon _saké_, as this is kept in stock by tea-houses
themselves). Besides, they draw a handsome revenue from visitors in
the shape of “_chadai_” (tea money) which rich prodigals bestow upon
them in return for fulsome flattery and cringing servility. The guests
will also often give a _sōbana_ (present to all the inmates of the
house) when they are well treated, and at special seasons of the year,
festivals, and occasions of rejoicing, the liberality of visitors
brings quite a shower of dollars, all nett profit, into the coffers of
the _chaya_ proprietor.
It is one of the many curious customs of the Yoshiwara that the
expression “_fukidasu_” (to blow out) is disliked, as also is the
blowing out of the ground cherry (_hozuki_).[20]
[Illustration: Outside of a Third-class Brothel at night.]
I must not omit to state that there is a low class of tea-houses which
resort to extortion and barefaced robbery in dealing with strangers
to the Yoshiwara. These houses are known by the general term of
“_bori-jaya_” and their _modus operandi_ is to detail their rascally
employés to prowl about outside the quarter and inveigle uninitiated
visitors to the _kuruwa_. Under various pretexts, inexperienced persons
are guided to _bori-jaya_ by these touters, welcomed effusively, and
pestered with the most fulsome flattery and attention. _Saké_ and food
is served to them, including a number of dishes never even ordered by
the guest, and by and by _geisha_ are called in to sing and dance,
although the visitors have not requisitioned their services. Later
on, when the guests are primed with liquor, they are urged to visit
a brothel on the condition that the expenditure shall be kept as low
as possible, but, once within the low stews to which they are taken,
they are persuaded to squander money on _geisha_ and other things. If
meanwhile the visitor, fearing heavy expenses, should desire to settle
his bill, the keeper of the house will put off the matter and invent
various plausible excuses for delaying the making up of the account.
Time flies and morning succeeds the night, but no bill is rendered,
and every artifice and trick is employed to detain the guest, until
the latter, overcome with _saké_ and fatigue, rolls over on the floor
in a drunken sleep. Meanwhile the pockets of the unfortunate victim
are surveyed in order to discover the extent of his means, and as soon
as it is evident that there is no more money left to be sucked he is
allowed to depart. Sometimes, however, the visitors prove too smart
to be successfully swindled, but in these cases the houses afford
them a very cold reception indeed. Sometimes it happens that the
_bori-jaya_ proprietors overestimate the pecuniary resources of guests
who have fallen a prey to their wiles, and find that their purses are
not lined sufficiently well to meet the bills run up against them. In
such a case the proprietors will allow the guest to depart under the
escort of one of the employés of the house. This man exercises strict
surveillance over the guest, and follows him like grim death wherever
he goes until the bill is settled. He is known as a _tsuki-uma_ (an
attendant—or “following”—horse) and if payment is not made he will
inflict the disgrace of his presence upon the luckless wight he
follows, tracking the latter home to his very doorstep and there making
a noisy demand for the money owing. It is only fair to add, however,
that such low tea-houses are not to be found in the _Naka-no-chō_.
Name of the Present “Hikite-jaya (1899)
(Those marked “w” are kept by women.)
_In Go-jikken-machi._
Yamato-ya kept by Kuwagata Saku (w)
Hama-Yamato “ Sakamoto Komajirō
Ōmi-ya “ Tanaka Fumi (w)
Wakamatsu-ya “ Wakamatsu Tomi (w)
Suzuki-ya “ Suzuki Naka (w)
Ōsaka-ya “ Ōta Tama (w)
Tsurutsuta-ya “ Ieda Hanzaburō
Shin-Wakamatsu “ Ogiwara Riye (w)
Naniwa-ya “ Sada Koto (w)
Yawata-ya “ Kobayashi Kiku (w)
Taka-Yamato “ Takamatsu Kame (w)
_In Yedo-chō It-chō-me._
Gin-Yamato kept by Onozuka Ginjirō
Takeji “ Takenouchi Jihei
Nagasaki-ya “ Koboso Kihei
Yamaguchi Tomoye “ Shimura Tsunejirō
Fukudama-ya “ Sugenuma Fuku (w)
Komi-Nomura “ Kuga Mitsu (w)
Takasago-ya “ Hagii Tetsu (w)
Rō-Nakamura “ Otsuka Tatsu (w)
Owari-ya “ Oda Tarōbei
Wakamizu “ Ōkubo Aikichi
Masu-dawara “ Okamura Iku (w)
Chikahan “ Shimizu Hanshir
Hayashi-ya “ Ishii Mine (w)
Kane-Ōsaka “ Takata Kane (w)
Nishinomiya “ Saruhashi Shōzō
Ise-matsu-ya “ Sugiyama Chisa (w)
Fuku-no-ya “ Miyazaki Fuku (w)
Saiken-Tsuta-ya “ Matsumae Saku (w)
Masu-minato “ Ishiguro Nobutarō
Den-Daikoku “ Itō Shin (w)
Yonekawa “ Ishikawa Eizaburō
Uwajima “ Uwajima Kichizō
Kameda-ya “ Tanaka Harutarō
Kiri-ya “ Kimura Kin (w)
Ume-no-ya “ Kagawa Ichizō
Kanō-ya “ Kuriyama Tsuru (w)
Matsu-zumi-ya “ Sakigawa Rin (w)
Yoshi-mura-ya “ Yoshimura Tameshichi
Awa-manji “ Ōta Masa (w)
Morita-ya “ Mori Nao (w)
Adzuma-ya “ Ogiya Fuku (w)
Tsuruhiko Ise-ya “ Ōmori Hikojirō
Ine-ya “ Katsuya Heisuke
Tani-Iseya “ Katō Chika (w)
_In Yedo-chō Ni-chō-me._
Ueki-ya kept by Kakubari Chō (w)
Kanzaki-ya “ Hirano Fuku (w)
Hisa Ono “ Ishizaka Hisa (w)
Idzutsu-ya “ Yamagoshi Kane (w)
Iwa-Yamato “ Kobayashi Hide (w)
Tatsumi-Ōno “ Ōno Saki (w)
Mon-Matsumura “ Nemoto Mon (w)
Myōga-ya “ Koidzumi Fuku (w)
Yamazaki “ Yamazaki Mitsu (w)
Kanedama-ya “ Nozaki Yura (w)
Mon-Kadzusa “ Tomizawa Hanshichi
Shin-Owari “ Kuroda Genjirō
Matsu-Iseya “ Sugiyama Kayo (w)
Hisa-Yamato “ Ozawa Masu (w)
Kirisa “ Hiroto Sahei
Nobuzen “ Nakajima Kin (w)
Minomura “ Shinowara Natsu (w)
Kotobuki-ya “ Hozaka Kamekichi
Shin-Nagashima “ Takashima Iku (w)
Tokushima “ Sugimoto Nisaburō (w)
_In Ageya-machi._
Hanagawa-ya kept by Katagiri Ito (w)
Matsumura “ Ikeda Kayo (w)
Umemura “ Momooka Matsunosuke
Idzutora “ Tsuji Toku (w)
Horikawa-ya “ Uchida Tokuji
Dai-yoshi “ Minagawa Fuku (w)
Tamasei “ Satō Kin (w)
Ichimonji-ya “ Saitō Katsu (w)
Ōshima-ya “ Saotome Kiku (w)
Daichū “ Wakizaka Kenjirō
_In Sumi-chō._
Shin-Kirihan kept by Shimidzu Matsuzō
Suzuki Kadzusa “ Suzuki Shige (w)
Shinakin “ Miyazawa Kin (w)
Tamasano-ya “ Shimidzu Tamasaburō
Nobuki “ Yamamoto Kisaburō
Matsumoto “ Itō Kihei
Hatsune-ya “ Nakamura Shintarō
Ishigaki-ya “ Minoura Jingorō
Masumiya “ Yamazaki Tetsu (w)
Aoyagi “ Ishii Rihei
Ozaki-ya “ Miyazaki Tano (w)
Mansen “ Kōno Teru (w)
_In Kyo-machi It-chō-me._
Akashi-ya kept by Akashi Shika (w)
Kawagoe-ya “ Matsumoto Jūbei
Tamayoshi “ Suzuki Rika (w)
_In Kyo-machi Ni-chō-me._
Naka-Ōmi kept by Hagiwara Yoshi (w)
Masuda-ya “ Amano Kin (w)
Hyōgo-ya “ Yoshida Rui (w)
Komatsu-ya “ Akao Yoshizō
The Jū-hachi-ken-jaya.
(_Eight Tea-houses._)
The “_Yoshiwara Zatsuwa_” 吉原雜話 states that there were in Ageya-machi,
besides the “_Ageya_” themselves, eighteen tea-houses to which persons
repaired for the purpose of watching the _tayū_ entering the various
“_ageya_.” According to the regulations of the Yoshiwara in ancient
times, the construction of _tsuki-age-do_ (shutters which slide up
into a groove above the window, like shop-shutters) in the windows
of the second stories of these houses was permitted, whereas it was
prohibited in any other part of the _kuruwa_. In the tea-houses in
Naka-no-chō, lattice work doors were used in their upper floors. It
is stated that originally only the central portion of the Yoshiwara
leading from Ageya-machi was called Naka-no-chō, the other portions
being named Yedo-chō division, Kyō-machi division, etc. According to an
old resident of Ageya-machi, Naka-no-chō was formerly amalgamated with
Ageya-machi owing to the number of officials being small in the former
street, and about that time there was a fireman’s ensign (_matoi_) in
existence in Ageya-machi bearing the character 中 (“_Naka_”), clearly
showing the connection between the wards. [Nowadays the whole central
street is called _Naka-no-chō_—middle street—because it passes right
through the centre of the enclosure.]
The “Amigasa-jaya.”
(_Braided hat tea-houses._)
It is mentioned in the “_Yoshiwara Taizen_” (吉原大全) that there were
tea-houses, standing on each side of the Go-jikken-michi outside the
great gate, which were known as “_Amigasa-jaya_” because they lent
to samurai, nobles, and people who wished to conceal their identity,
“_amigasa_” which covered the entire head, face and all.[21] These
hats were usually made of rush, and being very deep looked something
like inverted baskets. The twenty tea-houses are still to be seen in
Go-jikken-machi, but the rush hats formerly supplied are conspicuous
by their absence. In passing, it may be noted that it was a custom for
these houses to lie built without second-stories facing the street.
[Illustration: AMIGASA.]
“The “_Yoshiwara Kagami_” 吉原鑑 says:—In ancient times there were
_amigasa-jaya_ outside the great gate and visitors used to enter the
Yoshiwara wearing the deep rush hats supplied by those houses. Each
hat cost 100 _mon_ (10 _sen_), but if the purchaser returned it on the
way home the keeper of the _amigasa-jaya_, would exchange it for 54
_mon_ (about 6-1⁄2 _sen_).
“These hats are no longer used, but the old name still clings to the
tea-houses.”
The “Kujaku Nagaya.”
In the “_Yedo Sunago_” (江戸砂子) we find this passage:—
“The _Kujaku-nagaya_ (a _nagaya_ is a long building in which are
several separate residences. The old _nagaya_ were used as a species
of barracks for the retainers of the feudal lords. _Kujaku_ =
peacock) are situated at the rear of the street at the end of the
paddy-fields, and are so called because from this place the brilliant
spectacle of the lighted Yoshiwara can be seen to great advantage. The
spot has therefore been compared to the body of a peacock, and the
dazzling splendour of the Yoshiwara to the magnificent tail of that
vain bird.
“In the “_Bokusui Shōkaroku_” (墨水消夏錄) it is written:—“A row of houses
on the eminence along that part of the Nihon-dzutsumi which leads
to Tamachi, is called the “Peacock _nagaya_.” The origin of this
picturesque name is that about the era of _Kwanbun_ (1661–1672) there
lived in the extremity of the _nagaya_ a lovely girl whose wonderous
beauty was noised about the neighbourhood, and, owing to the dingy
block of houses having such an enchanting damsel residing in the
end building, some admirers of the fair nymph, by a quaint conceit,
compared the block of houses to the body and the dainty maiden to the
gorgeous tail of a peacock.”
The “Kembansho.”
(_Office which manages the affairs of geisha and other professionals._)
“The “_Yedo-Kwagai Enkaku-shi_” (江戶花街沿革誌) says:—“In the 7th year
of Anyei (1778) there were about 100 professional artists in the
Yoshiwara including 20 _otoko-geisha_ (male _geisha_) 50 female
_geisha_, and 16 young dancing girls (_geiko_).”
These people had to obtain licenses from the headmen of their
respective districts, but as no fixed taxes were imposed upon them,
all their earnings, including tips (_shūgi_) and fees (_gyokudai_),
went into their pockets intact. Under these circumstances, many persons
began to consider the advisability of taxing the _geinin_ (_artists_
and _artistes_) and appropriating such taxes towards defraying the
common public expenses of the Yoshiwara. At this time the morals of
the _geinin_ were at a very low ebb, and their conduct so lax that
great trouble was experienced in the quarter. Female _geisha_ began to
compete with the regular courtesans and openly offered themselves as
prostitutes, while the male professionals contracted intimacies
with the women in the brothels and carried on liaisons with the latter.
All these abuses clearly showed the absolute necessity of putting the
_geinin_ under proper control and of framing regulations for putting
a check to their unrestrained intrigues, amours, and general gross
misconduct. In the 8th year of Anyei (1779) a certain person named
Shōroku (who was the keeper of a brothel known as “_Daikoku-ya_”)
agitated the question, and after consultation with his confrères
established a _Kemban-sho_ (registry office for _geisha_ of both
sexes). Abandoning his profession of brothel-keeping, Shōroku became
the director (_tori-shimari-yaku_) of this institution, and under his
supervision a system was inaugurated by which all _geinin_, including
men, women, and children, _jōruri_-singers, _samisen_-players,
etc., were brought under authoritative control. The business of the
_Kemban-sho_ was transacted by two _bantō_ (head-clerks) and some
ten assistant clerks (_te-dai_), the latter acting in the capacity
of a modern _hako-ya_ (attendant who carries a _geisha’s_ musical
instruments) and attending to female geisha when the latter went out to
fill an engagement.
The male _geisha_, it appears, were all bound to do duty at the
_Kemban-sho_ in turn.
Classes of Prostitutes.
The custom of dividing courtesans into higher and lower classes
had already sprung into existence while the Yoshiwara was situated
at Yanagi-machi (close by the present Tokiwa-bashi). They were
then classified as _Tayū_ and _Hashi-jōro_.[22] During the period
of the Yoshiwara three classes were added, viz:—_Kōshi-jōro_,
_Tsubone-jōro_, and _Kirimise-jōro_. After the opening of the new
(_Shin_) Yoshiwara, _Hashi-jōro_ and _Tsubone-jōro_ ceased to exist,
while at the same period (_Genroku_ = 1688–1703) _Sancha-jōro_ and
_Umecha-jōro_ came into existence. After the era of Kwansei (1789–1800)
the classes in existence were:—_Yobi-dashi_, _Chūsan_, _Tsuke-mawashi_,
_Zashiki-mochi_, _Heya-mochi_, and _Kirimise-jōro_. Particulars of
these changes are mentioned in various old books and can also be
gathered from the lists of courtesans published in those times. As to
the origin of the names _Tayū_, _Kōshi_, _Tsubone_, etc., these terms
appear to have been derived from a similar classification in vogue in
Kyōto, and if my readers are curious to trace these derivations they
will do well to refer to a book called the _Dōbō-Goyen_ (洞房語園) for
further information.
[Illustration: Types of Modern Courtesans.]
The _Tayū_ was a courtesan of the highest class, excelling her
unfortunate sisters both in respect to her beauty and accomplishments,
and, as previously mentioned, this appellation had come into existence
while the _kuruwa_ was yet in Yanagi-chō. In the 20th year of Kwan-ei
(1642) there were 18 _tayū_, in the era of Manji (1658–1660) 19, and
in the 2nd year of Kyōhō (1718) 14, but between the 21st year of Kyōhō
(1736) and the 1st year of En-kyō (1744) the number of _tayū_ decreased
to 5. In the 4th year of Kwan-en (1751) we only find one _tayū_ in the
whole Yoshiwara, and by the end of the Hōreki era (1751–1763) the class
had entirely disappeared. The _age-dai-kin_ (fee) of a _tayū_ was at
first fixed at 37 _momme_ (about Yen 6.14), but by the era of Teikyō
(1684–1687) it had been doubled. In the era of Kwampō it appears to
have been 97 _momme_ of silver (about Yen 16.00). At that period the
class of courtesans styled _Hashi-jōro_ was a very low one, and no
reliable record is extant from which we can obtain particulars of their
fees.
The _Kōshi-jōro_ were similar to those known as _Tenjin_ in Kyōto.
These women had their rooms within the _ō-gōshi_ (great lattice
doors or bars) and the _Dōbō-Goyen_ (洞房語園) states that these women
had the prefix of _Kōshi_ placed before the word _jōro_ (courtesan)
to distinguish them from _Tsubone-jōro_. _Kōshi-jōro_ were next in
position to the _Tayū_, and their fee was at first 25 _momme_ (_Yen_
4.15), but in the era of Kwampō (1741–1743) it rose to 60 _momme_
of silver (about Yen 10.00). It is mentioned in the Naniwa Seirōshi
(浪花青樓誌) published in the 10th year of Hōreki (1760) that the term
_Tenjin_ was in use not only in Kyōto but in Shim-machi, Ōsaka city.
Next to the _Kōshi-jōro_ came the _Tsubone-jōro_,[23] and their fee
was originally 20 _momme_ silver (about Yen 3.32), but, after the
appearance of the _Sancha-jōro_, competition reduced it to 15 _momme_
(about Yen 2.49).
[Illustration:
An Ancient “_Shirabyōshi_.”
A “_Yobidashi_” of the Yoshiwara.]
In the front of the houses where _Tsubone-jōro_ resided, wooden lattice
work screens, cut in a “figure of eight” all over pattern, of six
feet in height were erected, presenting a most curious spectacle.
This class of courtesans were in their turn ousted from popularity
by the _Umecha-jōro_ about the era of Genroku (1688–1703). It is
true that after the era of Temmei (1781–1788) a class of prostitutes
bearing a similar name came into existence, but these latter-day
_Tsubone-jōro_ were the lowest of low women and are not to be
confounded with their predecessors.
_Kirimise-jōro_ were the predecessors of the present _Ko-mise-jōro_
(“small-shop-courtesans”) to be found by the creek. These women lived
in _naga-ya_ (barrack-like tenement houses) and offered their services
for the modest sum of 100 _mon_ (10 _sen_): in consequence of this
latter fact they were described as _hyaku-zō_ (or freely rendered—“100
_mon_ women”).
At the beginning of Kwambun (1661–1672) a still lower class of harlot,
called _Kendon_, arose, and later on another lower grade of strumpets
came into existence under the euphonious name of _Teppō_ (a gun). The
_Teppō_ charged 2 _shu_ (about Yen 1.25) for a day and night, but after
10 o’clock at night even this sum was reduced, on strictly business
principles, to 400 _mon_ (40 _sen_).
_Sancha-jōro_ was the name of a class of women which sprang up when
a raid was made on the _jigoku_ (“_Hell women_”) of Yedo and the
_furo-ya_ (bath-house) women were brought into the Yoshiwara in the
5th year of Kwambun (1665). The derivation of the word _Sancha_ is
very curious, and its explanation lies in a phonetically evolved pun.
_Sancha_ was the old time word for powdered tea, nowadays known as
_matcha_ or _hikicha_. In ancient times ordinary leaf tea was infused
by placing it in a bag, and shaking this bag about in boiling water
until the liquor was extracted. In the Japanese the verb “to shake”
is _furū_, but this word is also used (especially by courtesans)
to mean—“to repel” or “manifest dislike to” a guest. Ground tea
(_Sancha_)—on the contrary—was not placed in a bag, but put right
into the water, and therefore it required no shaking. The negative
form of the word _furū_ is _furazu_, and _furazu_ has the sense not
only of “not to shake” but “not to repel.” In the _Dōbō-Goyen_ it is
stated that many of the better class courtesans were proud as peacocks,
and in the zenith of their prosperity they would at times display
marked antipathy to some of their guests, going so far as to repel
(_furū_) the visitor altogether. The newly arrived courtesans who
had been brought into the Yoshiwara from all parts of Yedo City were
quite tractable and docile and did not attempt to rebuff (_furazu_)
would-be guests and hence the name _Sancha-jōro_ (“Ground-tea
harlots”). The fee of the _Sancha-jōro_ was at first 1 _Bu_ (gold)
(about Yen 2.50). This class of women became very popular in course
of time, and by the era of An-yei (1772–1780) and Temmei (1781–1788)
this popularity had become so marked that the number and value of
_Tayū_ and _Kōshi_ began to decrease. By the end of Hōreki (1763) the
last-named classes disappeared, and as soon as they ceased to exist the
_Sancha-jōro_ succeeded in monopolizing the whole field. About that
time, however, there arose a superior class called the _Yobi-dashi_,
and these again were divided into two grades, distinguished in the
_Yoshiwara Saiken_ (list of prostitutes) of the period by the marks
[SYM_1] and [SYM_2] respectively. Those marked [SYM_1] corresponded in
all respects to the _tayū_. Their _age-dai_ for 24 hours was 1 _ryō_ 1
_bu_ (about Yen 12.50) while those bearing the sign [SYM_2] were similar
to the _Kōshi-jōro_, their _age-dai_ for a day and a night being 1 _ryō_
(about 10.00 Yen).
[Illustration: Type of Modern Courtesan in “State” Costume.]
The _Sancha_ were divided into _Chūsan_ (or _Hirusan_) and
_Tsuke-mawashi_, their charges being 3 _bu_ (about Yen 7.50) and 2 _bu_
(silver) (about Yen 5.00) respectively. Both the _Yobi-dashi_ and
_Chūsan_ walked about the _Naka-no-chō_ on _hachimonji geta_ (clogs)
whereas the other women, with the exception of the _Tsuke-mawashi_,
appeared in the _hari-mise_ (or cage-like enclosure where the
courtesans sat on exhibition). About the era of Genroku (1688–1703) a
class of women named _Baicha-jōro_ came into existence and entered into
competition with the _San-cha_, but failed to maintain their footing.
The fee of these _Bai-cha_ was originally 10 _momme_ (silver) (about
Yen 1.66) but it was raised to 15 _momme_ (about Yen 2.50) afterwards.
By the era of Kwampō (1741–1743) the _Baicha_ had well-nigh disappeared.
The _Zashiki-mochi_ and _Heya-mochi_ who existed up to the time of the
Restoration are said to have been the remnants of the _Baicha-jōro_.
Since the Restoration (_I-shin_) the different classes of prostitutes
have not been distinguished by any special names, but their _age-dai_
varies according to the position of the brothels to which they belong.
At present (1899) the fees charged run from 20 _sen_ to 1 Yen 20
_sen_, and the women are divided into nine classes. The fees of the
women in _ō-mise_ (large brothels) and _naka-mise_ (medium brothels)
are Yen 1.20 and 90 _sen_ respectively. These large and medium-sized
establishments must be visited through the agency of _hikite-jaya_,
and the latter receive a commission of 10 per cent, on the business
introduced by them.
In passing, it may be of interest to readers to peruse the following
extracts from the “Kōshoku-Shūgyō-Shokoku-Monogatari,” (好色修行諸國物語),
written by the well-known novelist Kyōden (京傳) under the _nom de plume_
of Shōzan (笑山). In this work elaborate descriptions of _Yobi-dashi_,
_Zashiki-mochi_, and _Heya-mochi_ are given, and they portray a
vivid picture of the lives and customs of those women between the era
of Temmei (1781–1788) and Bunsei (1818–1829).
△ _Yobidashi_. (Fee from 1 _Ryō_ 1 _Bu_ to 1 _Ryō_ 3 _Bu_: about Yen
12.50 to Yen 17.50). The gorgeousness of her wearing apparel almost
defies description. Her dress consists of a long robe of richly
embroidered silk brocade. Her head is ornamented by a dazzling glory
of hair-pins (made of the finest tortoise-shell) which glitter around
her head like the lambent aureole of a saint, while her ravishing
beauty is such that the mere sight of her face will steal away one’s
very soul. * * * * * From this description, the neatness of her
apartments, the tasteful arrangement of her furniture, and the dainty
elegance of her personal effects may well be imagined. Every _oiran_
of the _Yobidashi_ class goes out walking in the _Naka-no-chō_ as soon
as it is dusk. She is attended by two _kamuro_ (young female pages),
two grown up female attendants (_shinzō_), a man bearing a box-lantern
(_hakojōchin_), a footman holding an open long-handled umbrella, and
an old woman (_yarite_) who acts as her chaperone.
△ _Zashiki-mochi_. (Fee 1 _Bu_ about Yen 2.50). These women belong
to the _ham-magaki_ brothels. Their “business hours” in the day-time
are from 12 o’clock at noon to 4 o’clock in the afternoon; and in
the evening from sunset until 12 o’clock (midnight). * * * * * Their
garments are made chiefly of velvet, crêpe, satin, figured satin, or
_habutaye_, and their girdles (_obi_) of gold brocade, velvet, damask,
etc. A couple of rooms of eight mats each are generally placed at the
disposal of each courtesan.
Their _futon_ (a kind of soft mattress) are of velvet or damask
(heavily wadded to a thickness of about nine inches) covered on the
surface with a specially woven crêpe, and each woman possesses two
such _futon_. The coverlets used at night are of black velvet lined
with red crêpe.
△ _Heyamochi_. (Fee 2 _shu_: about Yen 1.25).
Although these belong to the smaller establishments, there are many
fine looking women among them. * * * * * Velvets, crêpes, and other
silken fabrics are employed in making their garments and bedding.
△ _Tsubone-jōro_. (Fee 100 _mon_—about 10 _sen_—or 200 _mon_—about 20
_sen_ for a day and night).
These are an exceedingly low class of women and their houses are
frequented by the riff-raff and scum of the neighbourhood exclusively.
[Illustration: Type of Dress worn by a Courtesan.]
In this neighbourhood there is some strange slang employed. A
_samurai_—for example—is called “_Yama San_;” a priest “_Gen San_;” a
merchant “_Chōnin San_;” a young man “_Musuko San_;” and other queer
nicknames are given to the various classes of people who visit the
locality. These women used to lie in wait for passers-by, and pulling
in any likely patron they could find would slam to the door. A few
minutes afterwards the door would reopen and the guest depart, and
this process would be repeated _ad infinitum_.
In a humorous work by Ikku called the “Sato Kanoko Shina Sadame”
(里鹿子品定) the _tayū_, _kōshi_, _sancha_, _zashiki-mochi_ and
_heya-mochi_ are wittily compared to flowers, as follows:—_Tayū_ being
scarce nowadays may be compared to the cherry-blossom, for as no other
flowers can equal the cherry in point of colour and fragrance, in
like manner the beauty and loveliness of the _tayū_ surpasses that
of all courtesans. _Kōshi-jōro_, being mild and gentle, are like the
single-petaled cherry-flower booming luxuriantly, for they impose
no sense of restraint on anyone. The prosperity of the _Sancha_ and
_Zashiki-mochi_ may be likened to the red plum blossom (_kōbai_)
because its colour is so deep (by means of a _double entendre_ this
means that the amours of these women are very numerous).
The _heya-mochi_ are like the white plum-blossom, pale in colour but
very odoriferous. (!!!).
The following is a chronological table of the various changes of class
and nomenclature of the _joro_:—
Yanagi-chō Period Hashi-joro. Tayū.
│ │
│ └─────────┐
│ │
Moto-Yoshiwara Kirimise- Hashi- Tsubone- Kōshi- Tayū.
joro. joro. joro. joro. │
│ │ │ │
│ ┌──────────────┬───────┘ │ │
│ │ │ │ │
Genroku Kirimise- Baicha- Sancha- Kōshi- Tayū.
(1688–1703) joro. joro. joro. joro. │
│ │ │ │
│ │ └──┐ │
┌──────┬─────────┤ ├───────┬──┴──┤
│ │ │ │ │ │
Kwansei Kirimise- Heya- Zashiki- Tsuke- Hiru- Yobi-
(1789–1800) joro. mochi. mochi. mawashi. san. dashi.
Kamuro.
(_Young Female Pages._)
It is mentioned in the “_Yoshiwara Daizen_” (吉原大全) that _Kaburo_
(or _Kamuro_) was the name of young females in the Imperial Court
who had the greater part of their head shaven and only a long
kind of scalp-lock left hanging. The little girls who attended to
the courtesans in ancient times were dressed in imitation of the
child attendants formerly attached to the Court, and were styled
_Kiri-Kamuro_. Their portraits are often seen in pictures of the Tosa
and Hishikawa _ukiyō-e_ (realistic pictures) schools. The clothes
of the _Kamuro_ were _cha-jōro_ named _Miyakoji_, belonging to the
Naka-Ōmiya in chiefly made of white bleached linen, on which was dyed a
pinetree pattern (_waka-matsu no some-moyō_), or of dyed calico.
The _Tayū_ and _Kōshi-jōro_ were entitled to two and three _Kamuro_
attending upon them respectively while the _Sancha-jōro_ had only one;
this system of limiting the number of the _Kamuro_ of a courtesan was
instituted to distinguish the class to which she belonged. The wearing
of a kind of clothes, made of material called _ōgiya-zome_, by the
_Kamuro_ was considered fashionable. In the era of Hōyei (1704–1710)
a San-Sim-machi, was attended by two _Kamuro_ when she walked through
the quarter, and this excited a good deal of comment, the elders of the
place claiming that it was contrary to established custom. The matter,
however, was settled when Miyakoji explained that one of the little
maids who had accompanied her was the servant of a sister courtesan.
This precedent once established, it became a custom for _Sancha-jōro_
to sometimes walk out attended by two _Kamuro_ under the pretext that
one of these girls was not her own servant. It is said that this
Miyakoji was a very popular woman, and that in the house of Naka
Ōmiya, to which she belonged, her memory was preserved for several
generations by means of calling her successors by a similar name.
Since then _Wakashu-Kamuro_ and _Bōzu-Kamuro_ came into fashion, and
of later years it became the custom for _Kamuro_ to wear the same kind
of beautiful clothes as the courtesan on whom she was in attendance.
Even at the present day it is the custom for the _Kamuro_ to wear
cotton clothes, dyed with a pine-tree pattern, during the first week in
January, a period which is known by the Japanese as _matsu no uchi_.
[Illustration: Modern Courtesan and Her Attendants.]
The “_Yedo Kwagai-Enkwaku-Shi_” (江戶花街沿革誌) says:—When a young girl
was brought to a brothel as a _Kamuro_, it was usual for the keeper
of the house to see and name her. In the selection of these names
high-flown cognomens such as were bestowed on courtesans were carefully
avoided, and pretty innocent names were chosen. These names rarely
exceeded three syllables, and never four in any case. In the event of
two _Kamuro_ being attached to one courtesan, names were given them
to match: e.g. one being called “_Namiji_” (waves) the other would
be named “_Chidori_” (plover), or if one was called _Kureha_ (吳織 was
one of the weavers who came from _Go_—a kingdom of China—in ancient
times) the other would receive the name of _Ayaha_ (a weaver from
another kingdom in China.) The courtesan to whom the _Kamuro_ belonged
was called her “_ane-jōro_” and this _ane-jōro_ found the _Kamuro_
in clothes and paid all other expenses in connection with the child.
The keeper of the brothel watched the behaviour and disposition of
all the _Kamuro_ in his houses, and if any promised to become famous
courtesans he had them instructed in every branch of deportment,
and taught the banjo (_samisen_), harp (_koto_), floral arrangement
(_ikebana_), incense-burning (senkō 燃香), tea ceremonial (_cha-no-yu_),
and other accomplishments which were considered necessary in aspirants
for the “profession.” The behaviour of _Kamuro_ towards their
_ane-jōro_ was generally gentle and submissive, and they waited on her
most assiduously. They attended to all her wants, waited on her at
meals, lit her pipe when she desired to smoke, accompanied her when
she promenaded in the Naka-no-chō, and ran all her errands in the
neighbourhood. The _Kamuro_ would also perform trifling services for
the guests of her _ane-jōro_ such as bringing water for washing their
hands, etc. It was the custom originally that no _Kamuro_ should assist
at a wine party, as she was expected to remain sitting by the side of
her mistress in the same manner as the page of a feudal lord sat behind
his master, but later on this custom was changed and now the _Kamuro_
wait on guests and pour out the _saké_. When there was no available
_ane-jōro_ the _Kamuro_ used to wait on the master of the house, and if
the latter found her smart, beautiful, and likely to become a popular
courtesan, he took her himself as a sort of adopted daughter, and had
her educated at his own expense so as to fit her for the calling. On
the other hand, girls who gave no promise of turning out well in the
business were left without any education whatever, became household
drudges pure and simple, and ended their days in dismal ignorance:
under the most favourable circumstances, this latter class of _Kamuro_
would not be able to attain to reading characters other than _hiragana_
(an easy form of native script) and to a slight smattering of _samisen_
playing. When a _Kamuro_ attached to a courtesan was sick, her place
was taken by one of the girls attending on the master, and it
was also a custom for one brothel to make a loan of _Kamuro_ to a
neighbouring house whose keeper was short of these children. There
were no particular rooms assigned to the _Kamuro_ but they generally
slept in a room next to that of their _ane-jōro_. They took their meals
in the kitchen together with _Shinzō_ (see chapter headed thus) and
_Wakaimono_ (see that heading) and in the day-time were allowed to romp
about the galleries of the brothels and play together.
[Illustration: Modern Courtesan, Attendant, and _Kamuro_.]
The term _Kamuro_ has only been employed in the Yoshiwara, and
in the _Okabasho_ (which includes the prostitute quarters at
Shinagawa, Shinjuku, Senju, etc.) young servant maids were either
called _mame-don_ or _ko-shoku_. Even in the Yoshiwara there was a
rule limiting the number of _kamuro_ to attend to a courtesan of a
particular grade.
Shinzō.
In the “_Yoshimura Daizen_” (吉原大全) it is mentioned that the name of
_Shinzō_ (newly constructed) has been borrowed owing to the fact
that a newly launched ship is so called. When _kamuro_ (these girls
generally entered service between the ages of five to seven years) had
grown up to thirteen or fourteen they were made _Shinzō_, according
to the discretion of the _ane-jōro_. About ten days prior to this
event the girls obtained some _ohaguro_[24] (collected from seven
different friends of their _ane-jōro_) and blackened their teeth for
the first time. On the actual day of the ceremony _soba_ (buckwheat
macaroni) was made and partaken of by all the inmates of the
house, and presents of the same food were sent to every _jōro-ya_,
_tea-house_, _hikite-jaya_, and _funa-yado_ with which the brothel was
acquainted and on friendly terms. Sometimes _sekihan_ (rice boiled with
red beans) was distributed instead of buckwheat macaroni. It was also
the custom on these occasions to put out a large number of _seirō_
(vessels for steaming food) ranged in a row in front of the brothel,
and to place them on a long table of unpainted board measuring from 9
to 18 feet in length. On a table (also of unpainted wood) inside the
brothel, in the room of the _ane-jōro_, were exhibited rolls of dress
materials, tobacco-pouches, fans, towels, etc., which were to be given
as congratulatory presents to friends of the house as souvenirs of the
ceremony. In front of the tea-house or _funa-yado_, where the guest
who was supposed to finance the ceremony was wont to come, a number
of _seirō_ were piled up, and to all the tea-houses and _funa-yado_
presents of _mushi-gwashi_ (steamed cakes) were distributed. On this
day the interior decorations of the brothel were so magnificent and
splendid that according to ancient writers the spectacle defies
the power of language to adequately portray them. The _shinzō_, or
_imōto-jōro_ did not at once appear in the “_mise_”. For a week or more
from the day of her initiation she promenaded the _Naka-no-chō_ (clad
each day in different garments) under the guidance of her _ane-jōro_,
and in case of the latter having any _imōto-jōro_ she would bring her
along. When the week of introduction was past, the fellow-courtesans
of the girl would “_shimai-tsu-kawasu_” her to their ranks by engaging
her and paying her _agedai_ every day in turn, and she would receive
congratulatory presents from her friends. Sometimes two or more
_shinzō_ were initiated in one house at the same time. When a girl
who had not been brought up in the Yoshiwara was made a _shinzō_ she
was technically termed a “_tsuki-dashi_” (one who is pushed out to
the front) and as, in this case, there would be no _ane-jōro_ to look
after her interests, the _kutsuwa_ (explained further on) provided
her with the necessary bedding, wearing apparel, and furniture suited
to a _heya-mochi_, _chūsan_ (_hirusan_?), or _tsuke-mawashi_ as the
circumstances required. The amount of money spent greatly depended on
the personal attractions and beauty of the girl. As in the case of a
regularly trained _fille de joie_, she promenaded the _Naka-no-chō_,
accompanied by another _shinzō_, for the space of a week from the
day when she made her _début_, and, as a necessary accessory to this
ceremony, a present of _sakazuki_ (small _saké_ cups), each bearing the
name and crest of the debutante, was made to all the various tea-houses
and _funa-yado_.
[Illustration: 新造出しの圖 First début of a “_shinzō_” in the Kiōwa
period (1801 to 1803). (After the Picture by _Kitagawa Utamaro_.)]
There was another class of prostitutes in the Yoshiwara called _yakko_
which originally, it seems, was generally recruited from the ranks of
_samurai_ women. Every now and again a female of gentle birth would
be guilty of a lapse from virtue, and, in order that the stern code
of _samurai_ honour might be vindicated, she would be sent to the
public stews for a term of three, or even five, years as an exemplary
punishment for her immoral behaviour. In later times all public women
who were sold into the Yoshiwara from other quarters were similarly
termed _yakko_.
In the “_Yedo-Kwagai Enkakushi_” (江戶花街沿革誌) it is stated that the
_shinzō_ were divided into two classes, viz—the _furi-sode-shinzō_ and
_tome-sode-shinzō_. For the sake of brevity, the former was sometimes
called “_Furi-sode_” or “_Furi-shin_,” and the girls themselves
were either recruited from among the _kamuro_ who had attained the age
of 13 or 14 years, or by outsiders specially engaged for the purpose.
When the _furi-shin_ had reached an age when _furi-sode_ (long sleeves)
were no longer suitable to them, they were attired in the same manner
as their seniors. With the change of their garments came the change of
the general name by which they were known, and they were now called
“_tome-shinzō_” (short-sleeves _shinzō_) or more simply “_tome-sode_”
(short-sleeves) or else “_tome-shin_.” When a _kamuro_ was about to
become a “_furi-shin_,” her master would first of all summon her
parents and surety (_shōnin_) and hand over to them a _baishū-shōmon_
(certificate of sale) in exchange for the ordinary _hōkōnin shōsho_
(certificate of hire) which had been given them when the young _kamuro_
was first engaged. The master would also hand over a certain sum of
money to the parents, under the expressive name of _mi-no-shiro-kin_
(money for the body), the amount of which depended on the beauty and
accomplishments of the unfortunate girl. It would, however, sometimes
happen that the astute parents of the girl had been in communication
with a _zegen_ (a professional procurer) prior to this event, and when
they were summoned by the brothel-keeper they insisted on removing
their daughter as the term of her engagement as a _kamuro_ had expired:
they then sold the girl, at a greatly advanced price, to another
brothel through the agency of the _zegen_. This action of the girl’s
parents meant some loss to the original master, as he had to go to the
trouble and expense of training another courtesan in all the tricks
of the profession, whereas, if he had secured the _kamuro_, he would
have had a girl who knew every little point regarding the business
routine, and who was already trained and ready to commence her new
duties. As the original contract was to employ the girl as a _kamuro_,
the master was powerless to resist the wishes of the parents when the
term of apprenticeship was up, so, as a precautionary measure against
either future disappointment or dunning, the brothel-keeper, in many
instances, purchased the child outright, and demanded a certificate of
sale when he first engaged her as a _kamuro_.
Yarite.
(_Female Managers_.)
The duties of a _yarite_ consist in watching everything which happens
in a brothel, and includes the management of the courtesans and the
due espionage of both the inmates of the house and their guests.
Nowadays these women are called “_obasan_” (“auntie!”) The _yarite’s_
room is generally situated in front of the stairs so as to be more
convenient as a position from which the general affairs of the house
can be observed. No person can fill this important post satisfactorily
unless she be thoroughly well versed in the ins and outs of every
matter pertaining to the Yoshiwara, and unless she possesses a fund
of actual practical experience on which she can draw in an emergency.
The _yarite_, therefore, are for the most part picked from the old
veterans who have themselves served their time as courtesans. In
the Ō-mise (first class house) the _yarite_ are ensconced in their
rooms, employing _shinzō_ who play the role of aide-de-camps, while in
the _komise_ (small houses) they are accustomed to receive visitors
themselves and recommend suitable courtesans. The _komise yarite_
is indeed kept very busy, for she has not only to receive guests,
arrange meetings, etc., but she has to watch the reception given to
visitors by her girls, form an opinion of the visitors themselves, and
attend to a hundred and one other things also. The _komise yarite_ may
be described as “cute,” and there are mighty few things that escape the
notice of these lynx-eyed old beauties! The _yarite_ originated in the
_furo-ya_ (a sort of brothel) and their original title was “_kwasha_”
(火車 = a fire wheel). In the “_Kiyū Shōran_” (嬉遊笑覽) is a note to the
effect that the meaning of _kwasha_ was “to grasp” (_tsukamu_) which in
former times was used in the sense of “buying” prostitutes: it also had
the meaning of “making oneself familiarly selfish; and as the _yarite_
made rules which her women were bound to obey, she often showed herself
heartlessly selfish towards the courtesans, and hence the name of
_kwasha_. The regular wages received by _yarite_ were insignificant,
but their real sources of income were tips received from guests and
(by previous arrangement with their employer) commissions on the sums
spent by guests. They invariably wore _maki-obi_ (a girdle simply wound
round the waist without being crossed at right angles at the back).
In ancient times they wore a hood or cap over the _mae-gami_ (a coil
of hair above the forehead) and wore _maki-obi_ of black satin. They
received wages twice a year, viz:—about the middle of August (_chūgen_
= 15th day of the 7th month; the last day of the Feast of Lanterns)
2 _Bu_ (_Yen_ 5.00), and the end of December (_seibo_) 3 _Bu_ (_Yen_
7.50).
Besides, they charged a commission on the food and other things brought
to the guests.
(In those days the rate of commission allowed to the _yarite_ was 200
_mon_ (20 _sen_) on every _Bu_ spent on food by guests, and she levied
200 _mom_ (20 _sen_) per guest on the tea-house concerned). Even to
this day the “_obasan_” receives a certain percentage of commission,
so she is fairly well off if she is employed in a popular and largely
frequented house. In smaller house the visitors give the “auntie” a
tip of 20 _sen_ or 30 _sen_, and those who omit to propitiate the
lady in this manner find that things are not made pleasant for them.
In certain houses, however, a notice is posted to the effect that no
gratuities are expected by the servants, that the proprietor is anxious
not to burden guests with extra expenses such as tips, etc., and that
patrons will be treated with all possible consideration irrespective
of such presents. Sometimes a “complaint-box” is provided and hung
up, and beside it is a notice, written in bold characters, setting
forth the laudable intentions of the proprietor and requesting guests
to make immediate complaint if they have been improperly treated, or
if they detect any objectionable practices being carried on in the
establishment. Practically, however, the prevailing customs of the
Yoshiwara are so ingrained and hard to fight against that there is
scarcely any visitor who has courage enough to lodge a complaint.
In ancient times it was the obnoxious custom for the _yarite_ to
administer corporal punishment to prostitutes who were accused of
neglect of duty, and, taking advantage of their power, they often
subjected the miserable object of their displeasure to very cruel and
inhuman treatment. Happily, such practices have almost ceased since the
principle has been recognized of according courtesans a reasonably full
measure of liberty; but even in these enlightened days sinister stories
are told regarding the harsh treatment of women in some of the lower
class houses. No doubt the _obasan_, greatly abuse their power at
times, and this arises from giving them too much liberty and discretion
in dealing with the inmates of brothels: they find themselves in a
position to domineer over a number of other women (all of whom are
practically dependent on the good-will of these female overseers) and,
unless they happen to be exceptional persons, they are naturally apt to
give way to their tempers and to show unfair partiality towards their
subordinates, treating some kindly enough and others most cruelly. What
with tips, squeezes, and lending money to the girls at usurious rates
of interest, the _obasan_ enjoy a fairly lucrative position.
The “Kutsuwa.”
In the “_Yoshiwara-Daizen_” (吉原大全) it is stated that the custom of
calling the proprietor of a brothel “_kutsuwa_” came into vogue when
the prostitute quarter was situated at Yanagi-chō. The place was laid
out in the form of a Japanese bridle-bit (_kutsuwa_ = a bit: shaped
like a cross moline within a circle) and the houses were built in that
shape, so it became the fashion for visitors to call the brothels
_kutsuwa_.
It is stated in the “_Ruishū-Sanyō_” (類聚纂要) that brothels were named
_kutsuwa_ (which in Chinese characters reads 亡八 and means “forget
eight”) because persons frequenting them were apt to forget the eight
virtues, viz:—filial piety, brotherly kindness, loyalty, faithfulness,
politeness, righteousness, integrity, and the sense of shame. In
the Genna (1615–1623) and Meireki (1655–1657) eras the _kutsuwa_
were called _kimi-ga-tete_ (sovereign and parent: or “Prince of the
Courtesans”) owing to the fact that at the time of the opening of time
Yoshiwara the _daimyō_ and other notables used to call the founder
of the quarter—Shōji Jinyemon—by that name. One never hears this term
nowadays.
In the “_Yoshiwara-Enkakushi_” (芳原沿革誌) it is mentioned that _kutsuwa_
(a “bridle bit” 馬銜) is another name for a brothel. Some say that
a certain Hara Saburōyemon (who had formerly been a groom of the
Taikō) having founded a brothel, the name of _kutsuwa_ was given to
it in commemoration of his old employment and the _kutsuwa_ (bits)
he had handled in bye gone days. Another account says that the
prostitute quarter of Fushimi resembled the shape of a bridle-bit,
and hence this name came into popular use. Still another version is
given by the “_Nobunaga-ki_,” (信長記) according to which a retainer of
Nobunaga’s, named Ōta Umanosuke, was once detected receiving bribes.
This coming to his master’s ears, the latter, who was of a humorous
turn of mind, composed the following poem and sent it to the guilty
henchman:—“_Zeni-gutsuwa hameraretaru ka Umanosuke? Hito-chikushō to
kore wo iūran_”—“Have you been bitted and bridled with a bit made of
money Umanosuke? We must call you a man-beast.” (You have been gagged
by a golden bit, you may therefore be described as a man-beast).
In the Chinese characters, _kutsuwa_ (亡八) meant “selfishness” or
“covetousness.”
Wakaimono.
(_Male Servants_.)
The “_Yoshiwara Shin-hanjō-ki_” (吉原新繁昌記) says:—According to the custom
of the Yoshiwara, all men-servants in brothels were called _wakaimono_
(young fellows), and this term was applied, in a most inconsistent
manner, even to middle-aged or old men in the employ of these
houses. The word is practically equivalent to “boy” as used by foreign
residents in the East. There are different duties assigned to the
_wakaimono_. In the best houses they are divided into _mise-no-hito_
(“shopmen”), _naka-don_ (inside men), _toko-ban_ (bed men), _chūrō_
(overseers), _nezuban_ (night watchmen—this duty is undertaken by all
the men in turn), _furo-ban_ (bathroom men), _shita-ban_ (downstair
men), etc. In the medium houses the _chūrō_ are omitted, but in some of
them another class of men termed _oi-mawashi_ (overseers) are employed.
In the case of most lower-class houses these grades are not known, or
at least the division of labour is not so well arranged. In medium
houses all the business is transacted by “_shop-men_,” “_inside-men_,”
“_downstair-men_,” while in the lowest establishments, such as are
to be found at Waru-gashi, Rashō-mon, and Fushimi-chō, a couple of
men meet all the requirements of the brothel. It is also needless to
say that there is a considerable difference in the number of servants
employed according to the number of prostitutes kept by the various
houses. The wages of these people range from 75 _sen_ to 1 _Yen_ per
month (in 1899) which of course, would not be enough to keep them
in clothes and food were it not for their perquisites and pickings.
A “shop-man” (_mise-no-hito_), for instance, receives a squeeze of
one _sen_ per _dai_ (a dish containing food) and one _sen_ per each
bottle—holding 1 _gō_—of _saké_ consumed by guests, and besides 5 _rin_
(1⁄2 _sen_) for each pair of boots or clogs of which he takes charge.
[This fee for taking charge of foot-gear is deducted from the _agedai_
of the courtesans.] There is another source of income which is by no
means despicable. It is derived from the extortion—for no milder term
seems adequate to express the meaning—of a small, or sometimes
large, balance of change which is due to guests when the latter settle
their bills. In the event of a bill amounting to _Yen_ 1.90, for
instance, if a guest hands over 2 _Yen_ in payment, the courtesan, who
is ready for the occasion, urges—nay almost compels—him to give the
change (_tsuri_) to the servant. It may happen that this goes against
the grain of the victim, but he generally yields to the pressure of
the girl’s persuasion for fear of being considered mean. This squeeze
is called a _chōchō_ (butterfly) and in some houses a collection of
“butterflies” amounting to more than two or three _Yen_ per night
is netted by the astute _wakaimono_. It will be observed that these
“butterflies” are caught by the courtesan, therefore if the _wakaimono_
are not on friendly terms with the women they will not be successful in
catching such nice fat _chōchō_.
According to the rules of each house accounts are kept either by the
_mise-no-hito_ (“shop men”), _nakadon_ (inside men), or _yarite_. In
every houses the proceeds arising from the sale of waste paper (_kami
kuzu_) form part of the income of _meshi-taki_ (the kitchen servants).
Tips are naturally desired by all the servants of brothels, but the
_yarite_, _shinzō_, and _nakadon_ are the most frequent recipients of
them, as their duties bring them into direct contract with guests. The
_ōi-mawashi_ (overseers) and _meshi-taki_ (kitchen maids) have no share
in tips other than those given under the name of _sō-bana_ by visitors.
The powers wielded by the _bantō_ (head clerk) of first-class houses
are similar to those exercised by the masters themselves, and the
respect in which they are held by the other servants almost equals that
which is accorded to the employer himself. For instance, a _bantō_
generally comes down to his “office,” so to speak, every evening about
6 o’clock and remains until midnight (_nakabike_). On his arrival at,
and departure from, the brothel, he is attended by the _naka-bataraki_
(parlor-maids?) and other servants, all of whom treat him with the most
profound respect. Any commission (i.e.—_kasuri_ or “squeezes”) gathered
in prior to the departure of the _bantō_ (this is before 12 o’clock
p.m.) goes to him, but after that hour the “profits” are divided among
his subordinates. The monthly revenue of a _bantō_ of one of the best
houses from this source is, generally speaking, not less than 50 or 60
_Yen_, and even in a medium or lower-class house it ranges from 12 or
13 _Yen_ upwards to 20 or 30 _Yen_.
The _wakai-mono_ are technically known as _gyū_ and the origin of this
term is explained in the “_Dōbō Goyen-ho_” (洞房語園補) as follows:—
In the era of Shō-ō (1652–1654) there was a brothel-keeper in
_Fukiya-chō_ named Idzumiburo no Yohei. In this house was a man called
Kyūsuke who had been long employed in the establishment and was
consequently experienced in the reception of guests. The man, who was
an inveterate smoker, made a peculiar pipe out of a thick piece of
purplish coloured bamboo tube to which was attached a mouth-piece and
bowl, and he was so fond of this contrivance that he carried it round
with him everywhere, sticking it in his girdle when not in use. He was
hump-backed and short in stature, and when he went about smoking his
long pipe the good folk of the place said he looked like the Chinese
character _kyū_ (及). The name was gradually transferred from Kyū-suke,
an individual, to the whole class of attendants. First people spoke of
going to “Kyū’s” (及) place, and this nick-name afterwards became
almost a general term for men-servants in brothels. The present word
“_gyū_” is a corruption of “_kyū_.”
Hōkan and Geisha.
[Illustration: ASHI-ODORI.]
In the Yoshiwara, _taiko-mochi_ (_hōkan_) are called _otoko-geisha_ in
contra-distinction to female _geisha_. More generally they are called
_tayū-shū_. At first they were divided into several classes, among them
being _Uji_ (Uji’s school) _Sugano_ (Sugano’s school) _Ogiye_ (Ogiye’s
school) and _Sukura-gawa_; their profession was to attend _saké_
parties and sing or play to amuse the guests. Gradually, however, they
were forced to look after various affairs of their customers in order
to buy the good-will of the latter. At present they have completely
degenerated. In spite of the fact that the Yoshiwara is the veritable
birth-place of the _hōkan_, those belonging to the quarter are far
inferior to their contemporaries of the City proper in many respects.
When a _hōkan_ of the present day is called to attend a party of
guests in a brothel, he enters the room holding a folded fan in his
hand, and after saluting the guest who has called him snaps the fan he
carries with a sharp clicking sound and expresses his obligation to his
patron’s companion in the stereotyped phrase—“_oiran maido arigatō_”
(thank you madam for your constant favours). He then bows in turn to
every person in the room, including other courtesans and _geisha_, his
actual patron being disregarded for the time being. As soon as the
party gets livened up from the effects of liquor, and the feasting has
began to flag, the jesting and buffoonery of the _hōkan_ waxes fast and
furious and is accompanied by droll contortions and gesticulations,
_ashi-odori_, _suteteko_, and even _hadaka-odori_.[25] These
disgusting and highly suggestive antics of the _hōkan_, far from
scandalizing guests, are received with great applause and appear to
afford much amusement to all present. In the Yoshiwara, the most
popular _hōkan_ at present (1899) are Zenroku, Minchū, Hambei, Shōkō,
and Heiki. The usual costume of a _hōkan_ consists of a _haori_ of
black cloth having five crests upon it, and a _kimono_ of a different
coloured crêpe. According to the narrative of an old man, there were in
the era of Tempō (1830–1843) two classes of _hōkan_ named _zamochi_ and
_taiko-mochi_. The former were well versed in every branch of polite
accomplishments including _kō-cha_ (incense-burning and tea-ceremonial)
_ikebana_ (floral arrangement) _shikyoku_ (playing various kinds of
musical instruments) etc., and were generally called to parties given
by nobles, gentlemen, and wealthy merchants. In private life they were
admitted to the friendship of poets and literary men, and even in
ordinary times wore crested ceremonial clothes. When attending their
customers they wore a small wooden sword called a “_kami-ire-dome_”
(pocket-book holder) and carried about them a sum of at least 25 _ryō_
(about _Yen_ 250) for the purpose of making payments on behalf of
patrons, as it was not the custom to receive money from the latter
on the spot. The ordinary _taiko-mochi_, on the other hand,
were those who had no special accomplishments, but even these were
more accomplished than their modern representatives. They were also
colloquially termed “_no-daiko_.”
[Illustration: _Geisha_ Dancing the “_Kapporé_.”]
[Illustration: Yostume no mon.]
When a _hōkan_ intends to enter the profession on his own account,
he goes round to the various brothels and the tea-houses under
the guidance of his teacher and fellow _hōkan_ for the purpose of
introducing himself and soliciting patronage. This proceeding is
described as _hirome wo nasu_ (to “advertise” oneself) and the larger
the number of fellow _hōkan_ who follow the debutante the greater
the honour to the latter. On this day he requests the tea-houses or
brothels with whom he is particularly friendly to recommend him to
guests, and the latter are under a species of moral obligation to
assist the beginner in this matter. In the “_Dōbō Go-yen_” (洞房語園) it is
stated that men who entertained parties of persons, under engagement
by guests, were called _taikomochi_ (大鼓持 = a drum-holder). In the days
of Ōta Nobunaga there lived in the city of Kyōto a man named Jige
Yazaemon who was an expert player on the drum, and whenever he was
called into the presence of notables to give a performance he used to
beat the instrument while it was being held by one of his pupils, he
himself being seated on a drum-shaped tub. Among his pupils was one
named Idayū who was skilled in the act of holding the drum, and who was
a great favorite of his master Yazaemon. * * * For this reason,
parties wishing to engage Yazaemon used to request his performance
through Idayū. This state of things gave umbrage to other pupils of
Yazaemon, so they spoke of him contemptuously as “that _taiko-mochi_”
(drum-bearer). From that time, persons who endeavoured to curry favour
by flattery began to be spoken of as “_taiko-mochi_” until the
word become almost equivalent to “sycophant.” Yazaemon was the founder
of the “_Kwanzé_” school of drum-beating, and in consideration of
his fame in this line he was allowed to sit even in the presence of
high dignitaries. In the “_I-hon Kō-i_” (異本考異) portion of the “_Dōbō
Go-yen_” (洞房語園) it is stated that the origin of the name _taiko-mochi_
is as above related, and that to match this title prodigals
(_hōtō-mono_ = a dissolute person) were called _dora-uchi_ (鉦打 =
bell/gong strikers). Of late years, entertainers of guests without
special accomplishments have been termed “_no-daiko_” (“field-drums”
or “rustic drums”) and this name was apparently given them as a term
of contempt. Nowadays, _geisha_ of both sexes have come into existence
and assist in the entertainment of guests and courtesans just like the
_taiko_. In ancient times _taiko-mochi_ were known as _taiko-shu_. The
origin of the _hōkan_ in the Yoshiwara may be traced to olden times.
The “_Kuruwa Roppō_” (廓六法) says:—“_Taiko Naoyuki ga kuro no haori ni
tate yotsume no mon-tsuki taru wo kite dote-bushi utōte uwate-sase
ageya no sashi-gami ikutsu mo mochi, un-un_” (Taiko Naoyuki was
walking along singing a song known as “_dote-bushi_.” He was wearing
a black haori with a “_yotsume_” crest dyed upon it, and was carrying
_sashi-gami_ from _ageya_ [to various courtesans]). This refers to the
state of a _taiko-mochi_ being sent round by _ageya_ to call women from
brothels. Again it says:—“_Taiko-mochi Naoyuki wa Shōji no mon wo onore
no mon to su_ * * * (_Taiko-mochi_ Naoyuki appropriated to his own use
the crest of Shōji (Jinyemon)) * * * _mon dokoro made o-ashi ni nitari_
(even his crest resembled cash). These statements show that this
particular _taikomochi_ was greatly liked by the founder of the
Yoshiwara—Shōji Jinyemon—but from the tone of the language employed we
may infer that even in those days the profession was looked down upon as
a mean one. About the era of Kwambun (1661–1672) _taikomochi_ came into
existence in the Moto-Yoshiwara, and Naoyuki was the most popular of
_hōkan_ at that period. In the era of Manji (1658–1660) Kutsuno
Jiroyemon was the best known man, while in the era of Genroku
(1688–1703) Higeno Mukyū, Bōzu Kohei, and Nishuban Kichibei were
favourites. The last two were really actors, but they occasionally
entered the Yoshiwara in the capacity of _taikomochi_, and the fact that
they were patronized by Kinokuni-ya Bunzaemon is mentioned in different
books. About the Meiwa era (1764–1771) a _taikomochi_ named _Ippyō_ was
very famous. (It was to the house of this Ippyō that Hiraga Kyūhei went
for the purpose of meeting the courtesan Hinadzuru).
Sometimes the _hōkan_ were called “_kami_” owing to the fact that among
the regular attendants of Kinokuni-ya Bunzaemon was a man named Kamiyui
Chōshichi, a hairdresser by profession, who excelled in dancing the
_gaki-mai_ (hungry devils’ dance) to the accompaniment of tunes which
he whistled, and who was a great favourite with the Yoshiwara women.
This individual, being a barber, was called “_kami_” (contraction of
_kami-yui_ = a hair-dresser) which of course was written 髮 (“hair”) but
after a time the word was corrupted into _kami_ (神 = a god) and perhaps
this was why the name of _massha_ (末社 a “small shrine”) was applied
to the attendants of wealthy men and now is used colloquially to mean
a “jester” or “buffoon.” The _hōkan_ of the Yoshiwara is considered
as below the female _geisha_ in rank. In former times they lived
outside the _kuruwa_ and seldom made buffoonery their sole profession,
but in the era of Meiwa (1764–1771) and Anyei (1772–1780) they
gradually moved into the enclosure, licenses being granted to them by
Shōji Jinyemon in which they were described as “_otoko-geisha_” (male
_geisha_). By the 7th year of An-yei (1778) their number had reached
twenty and they were recognized as a regular class of professionals.
Since the establishment of the _kemban-sho_ in the 8th year of the
same era (1779) the _geisha_ of both sexes were brought under its
management, but so far as the _hōkan_ were concerned the Government
only knew and registered them as _dote-ninsoku_ (embankment coolies) or
_suibo-kata_ (coolies provided to guard against flood) so the social
status of these men may well be imagined. [At Fukagawa they were
officially known as _amma_ (shampooers), at Shinagawa as _tsuye-barai_
(tipstaffs), at Naitō Shinjuku as _kera-bori_ (insect-diggers)].
[Illustration: _Geisha_, _Hōkan_, and Guest.—Period 1800.]
Since the Bunkwa and Bunsei (1804–1839) eras the singers of
_Katō-bushi_ and _Itchū-bushi_ songs came to attend guests as _hōkan_.
When called by notables or _samurai_ they wore _hakama_, and, while
entertaining the guests with various amusements, acted with civility,
but in the presence of traders they discarded the _hakama_. Generally
speaking these men were well versed in deportment and various
accomplishments, and, as they were fit to move in the best society,
they were often engaged by poetasters, dilettantes, lovers of art
and letters, and wealthy people, more as friends and companions than
as the mere mercenaries they are at present. Indeed they were such
highly educated and accomplished men in so many respects that persons
of higher social standing were in no wise ashamed to have them
for intimate acquaintances. At present the _hōkan_ are looked down
upon as belonging to a mean profession because they practice it as
their sole means of earning a livelihood, whereas, in former times,
it was individual taste rather than necessity which attracted persons
to engage in this vocation. In order to make both ends meet, the
latter-day _hōkan_ grovel before and toady to their guests, and thus
they have forfeited all title to the respect of the public. The story
of the visit made to the Yoshiwara by Hōichi may be read in the light
of revelations by one who was thoroughly familiar with the quarter.
In the Bunkwa (1804–1817) and Bunsei (1818–1829) eras the hair of the
_hōkan_ was dressed in a style known as “_mame-honda_” (豆本田) and in the
era of Tempō (1830–1843) in the “_ko-icho_” (小銀杏) style.
[Illustration: “_Mame-Honda_” style of dressing hair.]
Gradually the _hōkan_ have deteriorated, but the men themselves are
not solely to blame, for had their guests been respectable people, and
punctilious sticklers for etiquette, these entertainers would have been
compelled to maintain a high standard as regarded accomplishments and
to have conducted themselves in a decorous manner. The trouble first
arose through permitting laxity in the manner of dress and allowing
the men to appear without _hakama_ in the presence of guests: as soon
as an inch was granted an ell was claimed, and so matters drifted
on until the _hōkan_ had sunk down to the very low social status they
occupy nowadays. In an Oriental country, at any rate, if you permit
any impropriety or breach of etiquette in silence the result will
always be far-reaching and disastrous! In the pre-Restoration days,
the fee (_gyokudai_) of a _hōkan_ was 1 _ryō_ (about 10 _Yen_) for 4
hours (from 6 to 10 p.m.) and out of this 500 _mon_ (50 _sen_) was
deducted by the _kemban_ (see that heading) as commission. In order to
evade necessity of paying a commission to the _kemban_, _hōkan_ were
in the habit of promenading the quarter in the hope of catching sight
of guests whom they might happen to know, and of thus being engaged
without the intervention of the registry office. This was known as
“_oka-dzuri_” (岡釣り = land-fishing), and although the practice was known
to the _kemban_ that office simply winked at it. The present price
of the _hōkan’s_ services is 10 _sen_ per joss-stick, and generally
he receives a gratuity of from 50 _sen_ to 1 _Yen_ (from these
payments certain small squeezes are levied by the _kemban_ and the
tea-house). There are now two classes of _hōkan_, one called _jimae_
and the other _kakae_: members of the former (_jimae_) carry on their
profession independently, while those of the latter (_kakae_) live in
the houses of their masters and in return for board, and the loan of
professional clothes, divide their earnings with their _padrones_. In
fact the system is identical with the women _geisha_ system. Among
themselves they use many slangy expressions such as “_O Chaya San_”
(instead of “_hikite-jaya_”). “_Nesan_” (instead of _geisha_: this
word is only used in reference to the older women, the rest being
designated by their own proper names), doing to a party by engagement
is called “_o zashiki_” (instead of _kyaku no seki ye deru_); a
brothel keeper’s private room “_Go nai-sho_” (instead of _rō-shu
no kyo-shitsu_); courtesans “_oiran_” (instead of _shōgi_); etc.; etc.
In the Yoshiwara the public women are supposed to occupy the first
position as leaders of society, so they are never spoken of as _jōro_
or _shōgi_ by any professional men and women, but called by the more
flowery and euphemistic name of _oiran_.[26] Any song in which the
words “_Yoshiwara jōro-shū_ (or _shōgi_)” occurs is sung; altered to
“_Yoshiwara oiran_,” thus softening the expression and making the sound
more agreeable and less offensive to the courtesans themselves. They
also call a courtesan’s room “_oiran no o zashiki_” (the august room
of the _oiran_ instead of “_shōgi no zashiki_ (courtesan’s room)).
_Shinzō_, tea—house maids, etc., are spoken of by their respective
names, and generally speaking, the same is the case with female
_geisha_.
As female _geisha_ are also controlled by the _kemban-sho_, their
_samisen_ boxes are placed out in a row at the office, each box bearing
a paper label on which its owner’s name is written in large letters.
Only the Naka-no-chō _geisha_ are registered in this establishment,
and it takes no cognizance of _moguri geisha_ (a _geisha_ who carries
on her profession clandestinely) or private _geisha_ kept in smaller
houses. In summoning a _geisha_, tea-houses send a maid-servant and
brothels a _wakaimono_ (man servant) to the registry office, and
this messenger calls out—“_⸺ san ⸺ _oiran_ no o zashiki desu_” (or
translated freely “Miss ⸺ is wanted by guests in Miss ⸺’s apartments”).
So thoroughly do the clerks in the _kemban-sho_ know their business
that no further conversation takes place, and the _geisha_ is sent out
forthwith: in most cases the clerks do not even enquire from whence
the messenger has come as they generally are quick to recognize his or
her identity, and at night a glance at the lantern of the applicant
(which always bears a name or device) shows them the house to which the
_geisha_ is to proceed. If the _geisha_ thus called has already been
engaged, or is unable to attend to the call on account of sickness or
other cause, an answer is given to that effect. (In the latter case
a toothpick is stuck in the _samisen_ box to show that the _geisha_
is not able to visit her guests). The servants of the _kemban-sho_
(_kemban no ko-mono_) are employed in carrying the _geisha’s samisen_
wherever she goes. When a _geisha_ is about to make her _début_ she
goes the round of tea-houses and brothels, accompanied by her employer
(_kakae-nushi_) and comrades, distributing to each house towels or
_saké_-cups inscribed with her name. These calls are made by way of
introduction and to solicit patronage (_aiko wo tanomi_) and (as is
the case with a new _hōkan_) the larger the number of friends who are
present on this occasion the greater the honour to the _geisha_. The
“_shin-gao_” (new-face), as she is called, invariably wears on the day
of her _début_ garments made of silk crêpe (_chirimen_) dyed with three
white crests on each of them. Her hair is dressed in the “_shimada_”
style, her _obi_ (girdle) tied in a bow called “_taiko-musubi_,” and
when she walks she turns back the skirt of her dress a little so as
to allow a glimpse of her exquisite crêpe petticoat (_naga-jiban_)
beneath. In case of the debutante being an _o shaku_ (a young girl
training to become a regular _geisha_) the style of her dress is left
to her own choice, and on the day of her introduction she is called
by some guest in accordance with previous arrangements made through
a tea-house or brothel. If the young _geisha_ has no engagement on
this first night of her professional life it is considered as a great
disgrace to her employer. It is a custom for the Yoshiwara _geisha_
not to wear clothes bearing crests, except during the time of the
New Year’s festivities and other time-honoured holidays and festivals,
but to dress themselves in plain striped stuffs. On the “crest days”
(紋日 = _mom-bi_. These are the _Go-sekku_ or five national holidays,
_tori-no-machi_, etc.) _geisha_ are generally engaged, by previous
appointment, by tea-houses, brothels, or by the request of some guests,
and they therefore stop, during the proper hours, in the houses where
they have been engaged, even though there be no guests to attend to.
[On these particular days they don their crested garments for the
nonce.] Should the _geisha_ fail to keep her appointment, or not remain
at her post during the regular time in accordance with established
rules, she will be scolded by not only _kemban_ but by the tea-houses
and brothels, and it will be said about her:—“_Zuibun tare San wa
zubora da ne_!” or _shitsurei wo shiranai_” (“Miss So and So is very
neglectful isn’t she?” or “She has no sense of propriety or courtesy”).
[Illustration: _Shimada_ style of coiffure.]
The fees payable to a _geisha_ are calculated at the _kemban-sho_ by
the number of hours her _samisen_ box is away from the office. The
fee is 12-1⁄2 _sen_ per hour (it was 2 _shu_—_Yen_ 1.25—in the olden
days) and the tip given (_tentō_ or _shūgi_) generally 1 _Yen_: for
younger _geisha_ (_o shaku_) the fee is 10 _sen_ per hour and the tip
about 20 _sen_. At present there is a class of cheap _geisha_ who
charge the rate of a younger _geisha_ (_o shaku nami no gyoku-dai_ =
a fee the same as that of an _o shaku_). A small percentage of the
_geisha’s_ earnings is taken as commission by the tea-houses arranging
the engagement. Some features of the old style of _geisha_ are still
retained among the singing-girls of the Yoshiwara. For instance, they
wear a large _maru-obi_ (a broad sash made out of a single piece
of stuff folded lengthways once and sewn together at the edges,
loosely tied and hanging down quite low) and a dress so long that
it touches, and almost trails upon, the ground. The ancient styles
of the coiffure are fast disappearing, their place being usurped by
the _Ichōgaeshi_ (or inverted maidenhair-leaf which requires no false
hair, but consists of two tresses parted at the crown, made into rings,
and gathered in at the top) and even the _sokuhatsu_ (European style)
style. Formerly the _shimada_ was _en regle_ and any other style
was considered as impolite vis-a-vis guests. [Nowadays the ordinary
_geisha_ in the cities violate ancient customs in a hundred and one
ways]. They also considered it stylish and “the thing” to go about
barefooted and never, even in the coldest weather, wore socks, whereas
of late years the _geisha_ all wear _tabi_.
[Illustration: _Ichōgaeshi_ style of coiffure.]
It is stated that _geisha_ first came into existence at Kyōto and
Ōsaka in the 1st year of Hōreki (1751), but they were vastly different
to those of the present day. Up to the eras of Shōtoku (1711–1715)
and Kyōhō (1716–1735) nearly all the courtesans were skilled in the
arts of singing, dancing, music, etc., and as they were equal to the
task of enlivening parties with their performances there was no room
nor necessity for _geisha_. Besides the fact that the courtesans
were accomplished, it was the custom for the wives and daughters of
brothel-keepers to play the _samisen_ and dance for the amusement
of guests: these were called _tori-mochi_ (entertainers). Again,
those _shinzō_ who were versed in amusing arts such as dancing and
music, were invited by guests to assist at parties, although no fixed
arrangement was made with them. These things ceased at the end of the
Hōreki era (1751–1763).
[Illustration: COURTESAN DANCING FOR THE ENTERTAINMENT OF
GUESTS.—KWAMBUN ERA (1661–1671).]
Formerly there was a class of female professionals called _odori-ko_
(dancers), who not only gave exhibitions of dancing but even offered
themselves as substitutes for the ordinary courtesans in order to eke
out their means of subsistence.
In the 4th year of Hōreki (1754) regular _geiko_ (kind of _geisha_)
sprang into existence for the time, and the term _geisha_ developed
later on about the 11th year (1761). In the latter year, we read
that in the “_Daikoku-rō_” (brothel), was a _geiko_ named Toyotake
Yasohachi, in the “_Ōgiya_” (brothel) a _geisha_ named Kasen, in
“_Tama-ya_” (brothel) two _geisha_ called Ran and Toki respectively,
while another _geisha_ known as Mondo was engaged in the “_Iseya_”
(brothel), etc. The _geisha_ were experts in _gidayū_ (musical drama),
_naga-uta_ (lyric poetry or song), and _bungo-bushi_ (a style of
song which originated in Bungo), etc., and, as their name implies,
they were accomplished women. The proper sphere of the _geisha_, on
the other hand, was to entertain parties by playing popular airs and
singing popular “catchy” songs. When the _geisha_ first came into
existence—about the 10th or 11th year of Hōreki (1760–1761) they were
employed by the brothels and lent to guests of the houses, but, as
their popularity and number increased, they came to be engaged by
tea-houses and individuals, or to start independently, and so gradually
formed a separate and distinct profession. The liberty of action which
they had acquired since they had set up independently soon degenerated
into license, and it often happened that _geisha_ not only sold their
accomplishments but their charms as well: this led to the establishment
of the _kemban-sho_ by Daikoku-ya Shūmin in the 8th year of Anyei
(1779) and the placing of _geisha_ under proper control. Prior to the
establishment of this _kemban-sho_ the _geisha_ were at liberty
to go out of the great gate with guests, but subsequently this was
strictly forbidden except to two _geisha_ each day. Only on New Year’s
day and the 13th day of the 7th month (_Bon no jū-san-nichi_) were
they free to pass out of the Yoshiwara irrespective of number, but
even on those days their hours of liberty expired at 4 o’clock in the
afternoon. We find it recorded that the rules were so stringently
enforced that comparatively few _geisha_ actually ventured outside the
gateway even on the special days above mentioned. The _kemban-sho_
further made strict sumptuary regulations prohibiting _geisha_ from
wearing unnecessarily fine clothes, believing that if these women
were dressed too magnificently it might lead to their making easy
conquests of the guests they met. The dress was limited to clothes of
plain non-figured stuffs dyed with their crests, and collars of some
white material (_shiro-eri muji no mon-tsuki_) while their coiffures
had to be made in the “_shimada_” style ornamented with one _kōgai_
(hair-pin), one comb, and one smaller hair-pin only. This style of
dress is adopted even in these times on certain days called _mom-bi_
(crest days). In order to make assurance doubly sure, _geisha_ were
generally recruited from among comparatively plain women so as not to
set up a counter-attraction to the _oiran_ or out-shine the latter,
and in a party of guests they were not allowed to sit close beside
the latter except in cases of sheer necessity. When a _geisha_ was
suspected of too much intimacy with a guest an enquiry was held by
the _kemban-sho_ people, and if they considered the suspicion to be
well-grounded they would suspend the fair sinner from the exercise of
her profession for the space of from one to three days and admonish
her as to her future conduct. Nowadays, _geisha_ have perfect
freedom of action in the matter of going out of the Yoshiwara, the only
stipulation being that they are required to notify the _kemban-sho_ of
their purpose. Formerly, _geisha_ licenses were issued by the _nanushi_
but are now given by the _kemban_. In the _kemban_ hung a number of
wooden tickets bearing the names of _geisha_ registered there, and as
soon as a woman was engaged her ticket was taken down and hung up again
with its face to the wall: this enabled the _kemban_ people to tell
instantly whether a certain _geisha_ was “in” or “out.” Three _geisha_
made one “set” (_kumi_) and not less than three could be engaged: this
was a precaution against allowing one girl to make herself unduly
familiar with a guest, but now the “set” has been reduced to two
_geisha_ only. The hours of engagement were limited from noon to 10
p.m., and during that time 7 joss-sticks (_senkō shichi hon_) were
supposed to have been consumed: the fee was fixed at 1 _ryō_ 3 _bu_
(_Yen_ 17.50) and was divided between the _kemban_ and the _geisha_,
the latter receiving 2 _bu_ 2 _shu_ (_Yen_ 6.25). The _geisha_ also
received a gratuity of from 2 _shu_ to 1 _bu_ (_Yen_ 1.25 to _Yen_
2.50). In the Yoshiwara there were no _hakoya_ (_samisen_-box carriers)
the clerks of the _kemban_ acting in that capacity: at night time these
clerks carried lighted lanterns on which were painted the sign of the
_kemban_.
On the 2nd day of the first month the ceremony of _hikizome_ (first
playing of the _samisen_ in the new year) was observed. After about
4 o’clock in the afternoon the _geisha_ and _hōkan_, in groups of fives
or sevens, went round to the various tea-houses and brothels in their
holiday dress wishing the proprietors and inmates a happy new year,
playing tunes of a felicitous nature, and soliciting future patronage.
The tea-houses and brothels entertained these callers with _toso_
(spiced _saké_), ordinary _saké_, and food. This custom of celebrating
the _hikizome_ still prevails.
In closing this chapter it may be of some interest to readers to note
that the _Sakura-gawa_ school of _hōkan_ is the most influential in the
Yoshiwara, and consequently many persons have concluded that this style
is indigenous to the quarter: such, however, is not the case, for it
originated in Fukagawa. Of late, several classes of amusements and many
new songs, said to be in the _Sakura-gawa_ style, have been introduced,
but they do not seem to be particularly noteworthy.
The Europeanization of the Yoshiwara and the Introduction
of Loochooan Courtesans.
The origin of the addition of _rō_ (樓 = a two-storied or “high”
house) to the names of brothels is traced back to the _Go-mei-rō_
(五明樓) which was another name for the “_Ōgiya_” of the Shin Yoshiwara
about the era of Temmei (1781–1786). In the pre-Restoration days no
houses were allowed which exceeded two stories in height, but since
the beginning of the _Meiji_ (the present) era changes have been
introduced into the architecture of brothels and several magnificent
and commodious houses have been built in a hybrid European style. The
_Tōkyō-kaikwa-hanjō-shi_ (東京開化繁昌誌) states:—
“At the time of the Restoration, high and commodious buildings, such as
had never been seen even in the mansions of nobles, were constructed in
the European fashion, etc., etc.” Illustrations of the _Kimpei-rō_ and
the _Go-sei-rō_ in the European style are given.
In the “_Shin-Yoshiwara-Zensei-kurabe-Shōgi-hyōban-ki_”, (新吉原全盛競娼妓評判記)
published in 1870, is a passage which reads:—“Houses were built in the
Western fashion and _many rare and delicate things were placed on the
table_” (_sic_.)
The adoption of foreign costume by prostitutes was first introduced by
the Yamada-rō of Ageya-machi in 1886, and later on this example was
followed by the _Shin-Inaben-rō_ and several other houses, but before
long the new fashion fell into disfavour and was abandoned. When the
“foreign craze” was at its height, the Yamada-rō provided foreign
bedsteads for the women, and served up food in foreign dishes; but
they never got so far as knives and forks, and although the plates
were of a Western pattern one was expected to eat the viands with the
cedarwood chopsticks provided!!! The _Yamada-rō_ seems to be great on
new sensations, for in 1889 that house engaged two or three Loochooan
women as courtesans. This novel departure filled the house for a time,
but before long the novelty wore off and the lovely Loochooans ceased
to be an attraction.
Zegen.
(_Procurers_.)
There may be various causes which compel many an unfortunate girl
to plunge into the “sea of trouble and bitterness” (_ku-gai_), and
out of each the enterprising novelist and feuilleton writer has
over and over again constructed a peg on which to hang his story,
but, when all is said and done, _the_ cause of causes is _poverty_.
Nowadays, the police regulations are so stringent that it is virtually
impossible for persons to traffic in human flesh and blood and sell
their fellow-creatures, but in former times there were rascally
scoundrels known as “_zegen_” who made a regular business of procuring,
selling, and buying women. These infamous pimps not only extorted
outrageous fees for their services but treated their victims in a most
cruel brutal manner, and they even had the temerity to kidnap young
innocent girls for the purpose of selling them to brothels. Even the
officials of the _Bakufu_ (Tokugawa Government) were startled out of
their perfunctory method of doing things when they realized the danger
these pestilent fellows were to the community, and in the 5th month of
the 4th year of _Kwansei_ (1792) the following notification was issued
by the government prohibiting procurers from exercising their nefarious
calling:—
“Among those people living in this City who make it their business to
find positions for men and women desiring to obtain employment are
parties known as _zegen_ or _naka-tsugi_. The plan of action adopted
by these individuals is to engage women for a specified number of
years at certain fixed wages, although at the time there is in fact
no opening offering. In the written memorandums of agreement entered
into, it is provided that even should the women thus hired be employed
in such disgraceful or low positions as _meshimori_ (lower class
prostitutes kept in inns under the guise of servants) menial servants,
or in any other capacities whatsoever, they shall have no grounds
for raising objections or complaints of any kind on that account.
Under these circumstances it is not usual for _zegen_ to keep women
on their hands for long, and if no suitable situation be found within
a short time they sell and transfer the girls to other _zegen_ for a
certain sum of money. The _zegen_ also prolong the period of service
contracted for with the result that the parents do not know when to
expect their daughters back. In this manner the whereabouts of many
women are lost, and their parents or relatives are compelled to apply
to the authorities to search for and discover them and cause their
restitution. It is also reported that sometimes _zegen_ extort money
from parties seeking relatives, and from the proprietors of brothels,
and thus matters are arranged and compromised privately without
referring them to the authorities. These practices are tantamount to
traffic in human beings and are highly reprehensible, therefore the
profession of _zegen_ or _naka-tsugi_ is hereby prohibited. This law
is to be strictly observed.”
In the official rules relative to deeds of engagement of courtesans
issued in the 7th year of Kwansei (1797)—that is four years after the
issue of the above notification—occurred the following clauses:—
“1.—When a brothel engages a new courtesan through the medium of a
professional (_kuchi-ire no mono_ = a person who finds situations for
would-be employés, and employés for would-be employers) full enquiries
shall be privately instituted as to whether the woman has been
kidnapped or otherwise, her birth-place, status, position, etc. Also
as to whether she is a real or adopted child of her reputed parents.
Enquiries shall also be made as to the status, residence, etc., of
her surety. These matters must be thoroughly investigated previous to
entering into a contract of engagement: the enquiries are to be made
through the medium of third parties and not from the said middleman
himself, and if the woman be actually engaged the above-mentioned
details shall be entered into the _nanushi’s_ book. The term of
engagement arranged must not exceed twenty years.
“2.—The profession of _zegen_ and _naka-tsugi_ having been prohibited
in the 4th month of the 4th year of Kwansei (the year of the “Ox”) on
the application of interested parties the authorities rendered the
following decision:—
“Whereas heretofore there have been numerous instances of _zegen_
and _naka-tsugi_ having signed and sealed documents as sureties for
courtesans under the pretence that they were relatives of the women,
it is hereby decreed that, on and after the 5th month of the present
year, when the period of service has expired (as mentioned in the
separate bonds of guarantee handed to their masters) the ex-courtesans
shall not be given over to their sureties but to their own actual
blood relations, and it is further ordered that the proprietors of
brothels are to assist the time-expired women in the matter of placing
them in the charge of such actual blood relations as aforesaid.
“Should any _zegen_ residing within the precincts of the Yoshiwara
receive applications direct from women seeking employment as
courtesans, such _zegen_ shall conduct the applicants to a brothel
for the purpose of introducing them to an employer. When engagements
are finally concluded the _zegen_ shall not (as formerly) seal the
agreements inasmuch that he is only permitted to act as a mere
introducer between the parties.
“3.—Should the number of middlemen in the Yoshiwara be limited, the
profession would become a monopoly, and to prevent the selling and
buying of the goodwill of the trade, as well as to prevent any
dishonest practices, an agreement was lodged by each middleman with
the _nanushi_. The latter has been in the habit of reminding the
middlemen of the contents of this contract once in every month, and
obtaining their signatures each time in proof of his having done so.
Of late, persons plying a similar profession have appeared in the
vicinity of the Yoshiwara, but have remained outside the enclosure.
This is contrary to the notification and makes it difficult to
exercise proper control over them, therefore they shall be compelled
to move into the Yoshiwara under pain of having the exercise of their
profession suspended. Henceforth all persons desirous of carrying on
the business of a middleman shall only be allowed to do so inside the
gates of the quarter.”
From the above it would appear that the profession was not altogether
abolished, and that it was merely concentrated in the Yoshiwara for the
purpose of enforcing a strict control over _zegen_ and _naka-tsugi_.
Even these regulations were relaxed in course of time, and by the
era of Tempō (1830–1843) there were over ten houses carrying on the
business of _zegen_ in Tamachi, Asakusa, and Sanya. Among these, the
most famous was the establishment of Ōmiya Sampachi, as he employed ten
or more _kobun_ (partly employé and partly protégé) who, in conjunction
with the provincial _zegen_, freely resorted to the practice of
kidnapping girls. These _zegen_ sent agents into the country to buy,
beg, borrow, or steal, women and girls, whom they brought back and
locked up securely till the moment of their absolute transfer into
the hands of brothel-keepers. How they maltreated the poor wretches
whom they had kidnapped may be inferred from the fact that the owners
of these “registry offices” were in the habit of stripping the girls
absolutely naked every night, and hiding their clothes under their
own _futon_ (mattress) lest the unhappy victims should escape. When
the women were about to be sold to the brothels with whom the men had
made previous arrangements, they were nicely dressed in hired clothes
(in order to make them appear to better advantage and thus enhance
the selling price) and taken round as “goods on view.” Then followed
protracted negotiations between the parties interested, each haggling
over the bargain like a fish-monger and a house-wife, the _zegen_
trying to squeeze out as much money as possible from the intending
buyer, and the brothel-keeper endeavouring to beat him down. At length
the price would be settled to the satisfaction of both the buyer and
seller, but even then there would generally ensue a struggle relative
to the payment of _mizu-kin_, or rebate allowed to the buyer as a fund
with which to provide the woman with an outfit. (Some people say that
this word should be _mizu-kin_ 不見金 = _money without seeing_ because
the money was never seen by the parents but deducted immediately by
the brothel-keeper). Another version says that is a corruption of
_mi-tsuki-kin_ (身付金 = money attached to the body) because with this
money the clothes and personal effects of the woman were supposed to be
purchased. When a girl was sold as a prostitute, a certificate—called a
_nenki shōmon_ (年季證文)—was given by the parents to the brothel-keeper.
It ran (freely translated) as follows:—
_Name of the girl ______________
Age ______________
This ______________ (name) residing at ______________
daughter of ______________ you ______________, owner of ____________
brothel, agree to take into your employ for ___________ years at the
price of ______________ ryō.
_______________ ryō you retain as “mizu-kin”__________ ryō, the
balance, I have received.
I guarantee that the girl will not cause you trouble while in your
employ.
She is of the _________________ sect, her ancestral temple being the
_____________ in _________ street.
Parents name ___________________ (SEAL.)
Guarantor ______________________ (SEAL.)
Landlord _______________________ (SEAL.)
_____________________ Name of “teishu.”
_____________________________ “jōroya.”_
It must be understood that many of these documents were “fakes” as
regards the signatures of the parent and of the landlord of the
parents’ house. So long as some persons were found to act as the
necessary parties, the papers were signed and stamped, and in exchange
for such an instrument the _mi-no-shiro-kin_ (price of the body) was
paid over in hard cash on strictly business principles. The “parcel
of goods” having been taken delivery of by the brothel keeper, the
_zegen_ appropriated 10 per cent as his commission, but besides that
they generally managed to obtain further sums of money on various
pretexts, including _hone-ori-kin_ (money for labour performed)
_ifuku no son-ryō_ (hire of clothes), _makanai-ryō_ (expenses for
food and lodging), etc., etc. [In passing, it may be noted that in
_zegen_ circles a girl who had been kidnapped was known by the name of
“_Inari_” (really the Goddess of Rice, but in popular superstition the
fox-deity) which is perhaps the reason why people often call courtesans
“_kitsune_” (foxes)].
As already mentioned, the Kwansei (1789–1800) notification prohibiting
the improper selling of women by _zegen_ had very little practical
effect, but on the 2nd October, 1872 (2nd day of the 10th month of
the 5th year of Meiji) the Japanese Government earned the everlasting
gratitude of right-thinking persons by issuing Decree No. 295 which
ordered the _unconditional_ liberation of all prostitutes throughout
the length and breadth of the Empire. This Decree reads, according to
the official translation, as follows:—
“Whereas transactions involving the sale of persons and their entire
subjection to the will of their masters for life or for a period are
contrary to the principles of humanity, and in consequence have been
prohibited from olden times; and whereas the actual condition of
persons heretofore hired for a term of years as servants, or in any
other capacity, virtually amounts to servitude, therefore all such
transactions are henceforth strictly prohibited.
“It shall be admissible for any persons to bind themselves as
apprentices for the purpose of acquiring practical training
in agriculture, trade, or art. Nevertheless the term of such
apprenticeship shall in no case exceed seven years, after the
expiration of which, such term may be prolonged with the consent of
both parties.
“In the case of ordinary servants or employés the terms of service
shall be limited to one year; and if the service be continued after
the expiration of that period the agreements shall be renewed.
“The release of all prostitutes, singing girls, and other persons bound
to serve for any term of years, is hereby ordered, and it is further
directed that no suits relating to debts incurred by, or on account of
such persons, shall be entertained.”
NOTIFICATION ISSUED IN OCT., 1872, (5th YEAR OF MEIJI)
BY THE JUDICIAL DEPARTMENT.
No. 22.
(PUBLISHED BROADCAST.)
“Whereas on the second day of this month the Council of State issued a
decree No. 295, persons are hereby notified relative to the same and
are to bear in mind the following articles:—
Although the sale of persons has been forbidden from olden days yet
persons are hired for periods under various names, but in reality this
“hiring” constitutes a “sale” and it is considered that the capital
of persons hiring prostitutes, singing girls, &c., is equivalent
to stolen money, therefore should any person complain about the
foregoing, upon investigation the whole of the money in dispute shall
be confiscated by the Government.
As stated above, prostitutes and singing girls having lost the rights
of human beings, they may likened to cattle (_gyū-ba ni kotonarazu_ =
they do not differ from oxen and horses.) There is no sense for human
beings to endeavour to exact repayment from cattle!
Therefore no payment shall be demanded from prostitutes or singing
girls for any moneys lent or debts due and in arrear hitherto, but it
is provided that as regards transactions subsequent to the 2nd day of
the present month, such prohibition ceases.
Persons who for money considerations cause girls to become prostitutes
and singing girls under the pretext that such girls are their adopted
daughters, are actually trafficking in human bodies, and will
hereafter be severely dealt with.”
[Since then, detailed regulations have been established relating
to the profession of prostitutes and are still in operation]. The
losses sustained by the brothel-keepers at the time of this wholesale
liberation of women are said to have been simply enormous. The
“_Tōkyō-Kwaika Hanjō-shi_” (東京開化繁昌誌) has the following under the
caption of “_Liberation of Courtesans_”:—“In the winter of 1872, all
the prostitutes and _geisha_ who had been engaged in the brothels and
inns throughout the country were unconditionally set free. * * * * *
Thousands of wretched women (whose lives might be compared to
those of birds cooped up in cages) having been suddenly liberated,
the confusion caused by the crowds of delighted parents and daughters
who thronged the prostitute quarters beggars description. * * * * *
Notwithstanding the general rejoicing, owing to being in debt, or
to other circumstances, a large number of these unfortunates were
compelled to apply for new licenses and to continue their calling in
the brothels which were now re-named _kashi-zashiki_ (貸座敷 = a house
with rooms to let).” From the above remarks the actual condition of
affairs at the time may well be imagined.
The old fashioned style of _zegen_ (procurer) have now disappeared,
and most of the women desirous of becoming courtesans are hired
through _yatoinin-kuchi-ire-jo_ (Registry offices for persons seeking
situations). By law these registry offices are forbidden to negotiate
such transactions, but it is well known that this prohibition cannot be
enforced in practice. The brothel-keeper, or his substitute, attends to
the engaging of women, and is always on the look out for “bargains.” In
the same manner that vultures swoop down to feast on the dead bodies of
soldiers after a sanguinary battle, so these rascally fellows turn the
misfortunes of others to their own profit by visiting localities which
have been overtaken by terrible natural calamity. Earthquakes, fires,
floods, and bad crops are the natural allies, of the brothel-keepers,
as is proved by actual statistics. For instance, out of the present
3,000 inmates of the Yoshiwara fully 40 per cent. are natives of Gifu
and Aichi Prefectures, and we know quite well that these localities
have suffered severely from earthquakes, floods, and bad seasons of
late years. It is said that when a particular district is visited
by some serious misfortune the various brothel-keepers proceed to the
spot in order to see what game they can bag at cheap rates.
The Dress of Courtesans.
Nowadays there is no fixed rule as to the dress of these women,
and they dress themselves in accordance with the wishes of the
brothel-keepers or according to the dictates their own taste. Thus
we find some of the modern courtesans dressed in gold or silver
embroidered brocades after the fashion of _oiran_ of bygone days,
others are clad in gaudy red crêpe (_hi-jirimen_) with embroidered
collars, and wear gigantic satin sashes (_obi_) tied in front, while
others again try and make themselves look younger and prettier by
wearing _yūzen_ stuff (generally silk crêpe decorated with various
beautiful figures) purple satin collars and _maki-obi_ (a narrow sash
wound round and round the waist: this sash is not tied into a bow
but the end is merely tucked in to hold it in place). Other women
wear plain crested clothes, or imitate the style of _geisha_ (singing
girls) or of Court ladies, and others even go so far as to ape the
(save the mark!) European style! In low-class houses a long loose robe
(_shikake_) of striped stuff and an under garment (_naga-juban_) of
mousseline (_merensu_) compose the whole stock of the wardrobe of a
prostitute. At present a long loose robe (_shikake_) of black colour is
only worn by the chief courtesans (_o shoku kabu_) of the best houses.
Compared with the luxurious costumes of former years, the present
holiday clothes of the women only correspond in quality to those of
the ordinary every-day garments worn by their predecessors: from this
statement the comparatively inferior nature of the present costumes
may be inferred. It is the custom of prostitutes nowadays to wear
clothes of striped material (_shima-mono_) when they are in their own
rooms with intimate guests. In the _ō mise_ (best house) after her
introduction (_hikitsuke_) to a strange guest (_shokwai no kyaku_)
the servants cry “_o meshi-kae_” (honourable change of garments),
and immediately the courtesan goes to her room, changes her clothes,
returns clad in a dress made of some figured material (_moyō mono_),
and waits on the visitor during the feasting and wine-bibbing which
follows. At the time of “_o hiké_” (honourable retirement, i.e.—the
time to go to bed) she again changes her clothes for a costume of
striped stuff. In the medium and lower class houses the women only
change their dress once, and the material employed in their wearing
apparel is exclusively crêpe (_chirimen_).
With regard to the sumptuary regulations relative to restrictions on
the dress of prostitutes, among the five items of the notification
given to Shōji Jinyemon by Honda Lord of Sado in the 3rd year of
Genna (1617) it was provided that “prostitutes are forbidden to wear
clothes with gold and silver embroidery on them; they are to wear
ordinary dyed stuffs.” This policy of enforcing simplicity of dress
was adopted by the authorities at the time when the establishment of
the old (Moto) Yoshiwara was permitted, and the courtesans therefore
used to wear either plain _kenchū_ (pongee?) or striped clothes: their
_obi_ (sashes) were broader than those of ordinary women, but never
exceeded 4 _sun_ (if this is cloth measure it will equal 6 inches
English) whereas in those times the usual _obi_ did not exceed 2 _sun_
(say 3 inches English) in width. The sleeves also were much shorter
at that time, but later on they were gradually made longer as the
sumptuary laws fell into desuetude. Since the founding of the Shin
Yoshiwara luxurious habits of dress gradually spread in the quarter,
and bye and bye extravagance was carried to its utmost point. In the
Kwambun and Empō eras (1661–1680) the _tayū_ usually wore _rinzu_
(figured satin) or _habutaye_ (a superior kind of pongee) dresses.
In the “_Dōbō Go-en_” (洞房語園) we read about the narrative of an old
gentleman named _Muramatsu Shō-a_ who said that in the era of Kwambun
(1661–1672) a certain person met the _Tayū_ Takao of Mi-ura-ya Dō-an’s
house in Kyōmachi and saw one of her new costumes: the lining was of
pale blue silk, the face of the dress black _habutae_, and the whole
garment so made as to be suitable for a man’s wear. In the “_Saikaku
Ichida i-Otoko_” (西鶴一代男), published in the 2nd year of Tenna (1682)
it is mentioned that the clothes of some women were made of _shiro
rinzu_ (white figured satin) for underwear, over which were worn two
dresses, the under one of scarlet _kanoko_ (material dyed with minute
white spots) and the upper one of pale-blue _Hachijo_-silk. These
clothes were used when the wearers attended to parties of guests, the
taste of the period demanding stuffs costly as regarded price but
plain and simple in appearance as compared with the brilliant gold
and silver embroideries and the velvets used in later days. In the
Teikyō (1684–1687) and Genroku (1688–1703) periods it had become a
general custom to use plain purple materials (_murasaki-mu-ji_) for
the _shikake_ (cloak). In the Hōyei era (1704–1710)—fifty years after
the opening of the Shin Yoshiwara—magnificent embroidered clothes came
into fashion, and in the era of Gembun (1736–1740), some thirty-years
later, a courtesan named Shigasaki introduced the custom of wearing
a broad _obi_ (sash) she herself having worn one 33″ (_kujira_ 2
_shaku_ 2 _sun_) in width (_sic_). This sash was worn and tied in a
style known as “_Karuta-musubi_,” and the woman who first set the
fashion was known as “_Obi Shigasaki_” or “Obi-goku-mon.” (The first
means simply “Sash” Shigasaki: the second “Sash-exposing-a-criminal’s
head.” The latter has a joking reference to the ancient custom of
exposing the severed head of an executed criminal to public gaze: the
sash was supposed to be so broad that only the head was visible above
it.) Since then, a luxurious and extravagant tendency in the dress
of courtesans manifested itself so strongly that in the 7th year of
Kwansei (1795) the authorities again considered it necessary to impose
restrictions on this rage for idle show: it was therefore announced
that dresses should be of plain stuffs (according to ancient custom)
and that _date-mon_ (伊達紋 ornamental crests) should not exceed 6 _sun_
(if ordinary measure = 7.1586 inches: if “_kujira_”—cloth measure—about
9 inches) in diameter. The tide of luxury, however, could no more be
stemmed by a mere notification than could the waters of the ocean be
dammed by a man’s hand, and in the eras of An-ei and Bunsei (1772–1829)
the zenith of barbaric splendour was attained. Costumes of crêpe,
velvet, figured satin, plain satin, _habutae_, etc., were freely used,
while _obi_ (sashes) were made of velvet, gold-brocade, silk-brocade,
damask, etc. As to colours and patterns, these were chosen according to
the taste of the individual courtesan and were by no means uniform. In
a book called “_Nishiki-no-Ura_” (錦ノ裏 “Behind the Brocades”) published
in the 3rd year of Kwansei (1791) a very elaborate description of an
elegant costume of the time is given. The upper garment consisted of
white _nanako_ dyed with purple clouds among which peeped out
some tasteful pattern: every here and there were flowers embroidered
in silk and finished by handpainting representing in vivid colours
the four seasons, while the crest consisted of a wistaria flower sewn
upon the dress with purple silk-thread. The underwear consisted of a
figured satin garment bordered with plain brown _Hachijō_ silk and
embroidered with the same pattern in coloured silk, and of a lower
girdle of claret-coloured figured satin lined with bright scarlet silk
crêpe. As an instance of the beauty and costliness of the night-gown of
a certain young miss, the “_Keisei-kai Shi-ju-hat-te_” (“Forty-eight
methods of buying courtesans”) mentions:—“The garment was of scarlet
crêpe, trimmed with purple figured satin and edged with gold and silver
threads so as to give the effect of waves breaking upon the sea-shore,
while her night-sash was of _kabe-chōro_ (wrinkled silk.”) In the eras
of Bunkwa and Bunsei (1804–1829) the costumes were simply gorgeous.
The pattern of the _shikake_ or cloak generally represented a cloud
with lightning and a golden dragon, or rocks with peonies, and a tiger
chasing a butterfly; the embroidery being silver and gold. That the
dresses of the “_jōro_” of these later periods were gorgeous, the
paintings of Utamaro, Eizan, Kunisada, and others, clearly show. It
appears that in those times there was a fixed rule in every brothel
appointing the make, stuff, colour, and pattern of the dresses to be
worn by the respective grades of women, and that this rule was strictly
adhered to. No courtesan, therefore, was permitted to wear a dress
unsuitable to her particular rank in the brothel, even though she could
afford it, but nowadays the girls are at liberty to wear any clothes
they choose and can pay for, especially if they are popular and
beautiful women. There are various arrangements made as to defraying
the expenses of dress in different brothels, and the clothes of modern
_shōgi_ are divided into _awase_ (worn in May, June and October),
_hitoemono_ (worn in July, August and September), _wata-ire_ worn
(November to April,) etc., according to the season, in the same way as
with ordinary persons.
Coiffures of the Yūjo.
Although it is remarked in the “Yoshiwara Taizen” (吉原大全) “their
hair even now is dressed in the ‘Hyōgo’ style after the fashion of
the Hyōgo-ya brothel at Ōhashi, Yanagi-chō,” yet when we find no
coiffure of this style in the pictures painted prior to the Tenna era
(1681–1683) the correctness of the assertion may be doubted. Judging
from ancient pictures of the “Uki-yo-e” school, it would appear
that up to the era of Keichō (1594–1614) courtesans wore their hair
hanging down the back, and that even in the era of Kwan-ei (1624–1643)
they merely gathered it up on the top of the head in a very simple
manner. It is mentioned in various books that in the era of Kwam-bun
(1661–1672) a _tayū_ named Katsuyama, living in the Yamamoto-ya in
the Shin Yoshiwara, devised a method of coiffure, called after her,
“_Katsuyama-magé_.” In the “_Dōbō Go-en_” (洞房語園) it says:—
“About the period of Jō-o (1652–1654) or Meireki (1655–1657) there
was a _tayū_ named Katsuyama in the house of Yamamoto Hōjun of
Shimmachi in the Shin Yoshiwara. Formerly she had been a _furo-onna_
(“bath-woman:” really an unlicensed prostitute) in a bath-house (known
as ‘_Ki-no-kuni-buro_’), kept by a man called Ichibei, at Kanda in
front of the Tango-den (neighbourhood of the present Kiji-chō). When
the _furo-ya_ (bath-houses) were abolished this woman returned to
her parent’s house, but appeared again as a _jōro_ in the house
of Hōjun. Her hair was bound up in one ring and tied with white
_moto-yui_ (cue cord) and this style still exists under the name of
_Katsuyama-magé_, etc., etc.”
[Illustration: Types of Courtesans’ Coiffures.]
[The _Maru-magé_ of later years is believed to have been evolved
from the _Katsu-yama-magé_.] In the era of Tenna (1681–1683)
_Hyōgo-magé_ and _Kaisei-shimada_ came into vogue. The _Shimada-magé_
is said to have originated in the era of Kwan-ei (1624–1643) with a
dancing-girl of Kyōto named Shimada Jinsuke. The _Keisei-shimada_
resembled the present _Shimada_ in nearly every respect. In the era
of An-ei (1772–1780) the _Kinshōjo-bin_, _Utsusemi-mage_, _Nakabin_,
_Hishidzuto_, _Yoko-hyōgo_, _Yamagata-tori-bin_, _Sogidzuto-musubi_,
_Tate-hyōgo_, and other styles, came into fashion, and later
the _Susuki-bin_, _Otoshi-barake_, _Tsutogiri_, _Sumi-Shimada_,
_Adzuma-bin_, _Kainade-dzuto_, _Chasen-magé_, _Tsumi-hyōgo_, etc., came
into vogue. By the era of Bunsei (1818–1829), however, of these only
the _Tate-hyōgo_, _Shimada_, and a few others had survived. [At present
the hair of the red bear (_sha-guma_) is used to form a tuft of false
hair over which to spread the natural hair in making up a _Tate-hyōgo_
coiffure: sometimes, although very rarely, it is used in dressing the
hair in _Shimada_ style]. It appears that in the Tenna and Teikyō eras
(1681–1687) only vegetable oil was used in dressing the hair, and that
_bin-tsuké_ (pomatum) had not yet come into use. In the “_Go-nichi
Mukashi-monogatari_” (後日昔物語) the statement of an old man born in the
3rd year of Empō (1675) is quoted to the effect that:—
“A certain old gentleman, who was ten years older than my father,
traversing an assertion by the latter that the hair of courtesans was
hardened by too much oil, said that such was not the case in former
years when the girls rubbed a little thin oil on their heads: he also
said that the hair remained in its natural state and did not
show any greasiness of appearance. The old pictures substantiate this
assertion.”
[Illustration: Types of Courtesans’ Coiffures.]
Moreover, in those days of comparative simplicity, the women used to
dress their own hair. The “_Hyōkwa Mampitsu_” (萍花漫筆) remarks:—
“In ancient times it was considered a disgrace for courtesans not to
dress their hair themselves, but of course it must be recollected
that there were no professional female hairdressers at that period;
they were of later origin. * * * In an old document, said to be a
certificate of a _yūjo_ belonging to the house of Idzumi Kankichi of
Edo-chō, the following sentence occurs:—_This woman having been taught
by her parents how to dress her hair, and how to write, no concern
need be felt on these points._ There is a considerable difference
between this certificate and one of the present day.”
According to the “_Kumono-Itomaki_” (蜘蛛糸卷) written by Kyōzan, a
well-known writer, the professional female hair dresser came into
existence at the end of An-ei (1772–1780) and therefore it was
undoubtedly later than that period before the courtesans used to have
their hair dressed by regular experts.
Referring to the style of hair dressing, the same authority says:—
“For about 20 years after the Temmei (1781–1788) era until the era
of Bunkwa (1804–1817) the style of hair-dressing of the _oiran_ was
generally the _Tsumi-hyōgo_, but of late years this has ceased to
exist. The size of hair-pins, on the other hand, has become larger
than in former days, for in the Temmei period they were very small
and light and no person placed the present artificial tortoise-shell
(_bazu_) ornaments on her head. As regards the style of hair-dressing,
the _karawa_, _hyōgo_, _shimada_, _marumagé_ (_katsuyama-mage_) and
_shiitake_, came into vogue in the order named.”
For further information on the styles of hair-dressing, the reader is
recommended to refer to the _Reki-sei-oniia-sōkō_ (歷世女裝考). The
woodcuts inserted in this section illustrate the principal styles of
_coiffures_ which have been adopted in the Yoshiwara from time to time.
[Illustration: Types of Kamuro Coiffures.]
Rooms of the Yūjo.
There is but little difference between the modern apartments
(_kyo-shitsu_) of the _yūjo_ and those of ancient times. The room
in which a _yūjo_ receives her guests is called the “_zashiki_,”
and generally contains about eight mats (_hachi-jō-jiki_), while
the adjoining room (_tsugi no ma_) is a smaller private apartment
containing perhaps three or four mats. Some women have a third
room placed at their disposal in addition, but this consideration is
mostly granted to the “_o shoku_” exclusively.
[Illustration: A Rainy Day in the Yoshiwara—within and without.]
Typical _zashiki_ are cosy rooms fitted with the usual _toko-no-ma_
(alcove) and _chigai-dana_ (a recess with two shelves, one a little
lower than the other, and each only reaching about half way across the
width of the wall-space involved); in the former hang either picture
or specimens of calligraphy (not always genuine!) by such noted
artists as Chosanshū, Tesshū, Zeshin, Keishū, and others.[27] The
rooms are prettily decorated, and furnished with cut flowers arranged
in vases of Kutani porcelain; these flowers are changed according to
the season. There will also be found musical instruments such as the
_koto_ (harp), _samisen_ (banjo), _gekkin_ (guitar), _ni-genkin_ (a
two-stringed musical instrument), etc.; numbers of sundry knicknacks,
such as a shelf-ornament in the shape of a rabbit, made of imitation
crystal, which is perched on a tiny cushion of daintily dyed crêpe;
a hanging clock, a handsome mirror, a framed oil-painting; a small
library of novels, magazines, theatrical notices, playbills, and
other light reading matter designed to beguile the tedium of guests.
On the _chigai-dana_ (recess fitted with shelves by the side of the
toko-no-ma) rests a deep lacquered tray (known as a _midare-bako_,
in which are put the guests’ garments) and other objects, while the
room invariably contains a clothes-horse (_emon-kaké_) and a
six-fold screen (_roku-mai-ori-no-byōbu_). In the private apartment
is a shelf on which the _yūjo’s yagu_ (bed-clothes) are placed, and
this is covered with a bright green _furoshiki_ on which is dyed
the ornamental figure of a vine (_karakusa_) and the name of the
girl to whom it belongs. Below this _yagu-dana_ (shelf) is a chest
of drawers containing the wardrobe of the _yūjo_, while the other
articles of furniture consist of a _naga-hibachi_ (oblong brazier)
on which is placed a kettle (_tetsu-bin_) a cupboard with a glass
door (_garasu-do-iri no nedzumi-irazu_) within which _yō-cha-ki_
(tea things) and _inshoku-no-gu_ (eating and drinking utensils) are
neatly arranged, a mirror-stand (_kyō-dai_), a cup used for gargling
(_ugai-jawan_) a _mimi-darai_ (a metallic or lacquer tub with a pair
of handles or ears used for toilet purposes), cushions (_zabuton_),
and various other paraphernalia of a courtesan’s room. The _zashiki_
(rooms) are rented from the brothel-keeper by the _yūjo_, and are
furnished at their own expense. The above is a description of a
first-class house, and in the lower-grade establishments a girl (there
called a _heya-mochi_) only possesses one room, or, at the most two
rooms. In the better houses the rooms are known as _zashiki_ (a
“parlour”) and in the lower-class houses as merely _heya_ (“room”).
In ancient days the _shinzō_ had no rooms of their own, and it was
the custom for all of them to sleep in the _ane-jōro’s_ room. There
are also rooms called _myōdai-beya_ (substitute rooms) which may be
used by any of the women when they have more than one guest at the
same time. In the lowest houses several guests and their girls are
packed up together in one room, each couple being only sheltered
from the gaze of the others by screens. This is known as _wari-doko_
(割床 = “divided bed.”) When a _yūjo_ has not sufficient means
to defray the expenses of furnishing and decorating her room, it is
paid for in instalments, but in some cases an intimate guest will
assist her by paying these expenses himself. The expenses of repairs
to her _zashiki_ and of the daily cleaning are also borne by the
girl; the _sōji no chingin_ (wage for cleaning) is paid direct to the
_wakai-mono_ (man-servant) who performs this office. The expenses which
_yūjo_ have to bear in this direction are very heavy, and according
to the official rules issued by the authorities in the 7th year of
Kwansei (1795) the girls were exempted from these burdens; but an
ancient custom is not easily broken up, and the evil, being by no means
thoroughly eradicated, has survived to these days. Unfortunately, in
this profession, a pernicious custom exists of spending money lavishly,
and should the _yūjo_ show herself mean or stingy (or even moderately
prudent) in her expenditure, this will cause her unpopularity, raise
up a host of enemies, and make trouble for her in a hundred different
ways; thus old customs cling to the Yoshiwara and defy the many earnest
efforts made to root them out. It would appear that at the time when
_yūjo_ used to receive guests in _age-ya_ there was no need to pay
much attention to beautifying their own rooms, but as a matter of
fact they were made very pretty because the _ki-jin_ (貴人 = “nobles”
and “honourable persons”) would not enter _age-ya_ and came direct
to the brothels. The regular style of _futon_ (mattress) used was a
_kagami-buton_ (i.e.—a _futon_ the border of which is made of stuff
different to that of the centre, making it look like a mirror in it’s
frame). In the best houses the borders were made of black velvet and
the panels of red crêpe. Three of such _futon_ (mattresses) were laid
one upon the other and the pile formed a nice soft bed, but in
the lower houses only two were used and these were made of inferior
material such as _merensu_ (_mousseline de laine_) or _kanakin_
(calico): in the very lowest establishments only one was provided.
The night gowns also varied in richness according to the class of the
house. By the official rules issued in the 7th year of Kwansei (1795)
fabrics mixed with gold or silver threads, silk brocades, or velvets,
were forbidden to be used in making futon, and the number used was
limited to three: these sumptuary regulations soon became a dead
letter and utterly failed to effectively check the luxurious habits of
the time. During the Meiwa era (1746–1771) a woman named Hinadzuru,
belonging to the Chōji-ya, used a pile of five _futon_ made of silk
brocade, but this was quite unprecedented. When _yūjo_ used to be
called to visit guests in an _age-ya_ their night-clothes were carried
with them on each and every occasion: these earlier _futon_, etc., are
supposed to have been greatly inferior to the costly ones that came
into fashion at a later period.
[Illustration: Courtesan making her Toilette.
Courtesan Composing Letters to their Guests.]
Tsumi-yagu no koto.
(_The piling up and exhibition of bedding._)
In the “_Ume-no-haru_” (by Kiyomoto) are the words:—
A pile of as many as twenty of the rich floral brocade _futon_ and
bedding which share the couch of Benten San.[28]
[Illustration: Arranging “_Tsumi-yagu_” (Exhibition of Bed-clothes) in
the Kiōwa period (1801 to 1803).(_After the Picture by Kitagawa
Utamaro._)]
This passage refers to a custom known as “_tsumi-yagu_” which forms
one of the leading features of the gay quarter: there are several
songs and stanzas of poetry extant in which the splendid spectacle of
a pile of magnificent brocade night-clothes and bedding is rapturously
dilated upon in amorous language. Vanity is an inherent attribute
of the fair sex, and among the class of women to whom the _yūjo_
belong “_the rage for competition, show and style_” has no limits,
consequently they all vie with each other in the attempt to outshine
their sisters in the matter of obtaining, and placing on exhibition,
piles of gorgeous bedding. It is a matter of professional pride for
the girls to make as lavish a display as possible, and in former days,
when the _go-sekku_ were approaching the _yūjo_ would persuade one of
her most intimate guests to undertake the financing of this expensive
function, and so well did they play their cards that they often
succeeded in inducing their infatuated admirers to disburse several
hundred dollars to gratify a passing whim. Nowadays, the holidays known
as the _go-sekku_ are not strictly observed, therefore exhibitions
of _tsumi-yagu_ are made either at the time of cherry-viewing in the
spring, the lantern festival in the autumn, during the first week of
the New Year (_matsu-no-uchi_) or at the time of the _tori-no-machi_
(see description under that heading) when the Yoshiwara is most
frequented by crowds of sight-seers. Generally speaking, this display
of bedding is confined to the _ō-mise_ (best houses) or _chū-mise_
(medium houses), but occasionally the women in smaller houses endeavour
to proclaim, by means of _tsumi-yagu_, that all the world does not
belong to their prouder sisters in the better-class establishments. As
I have previously mentioned, in ancient times gold and embroideries
were used in making up this exhibition of bedding, but now damask and
crêpe are mostly employed. The present cost (in 1899) of a set of
_tsumi-yagu_ is from 100 to 200 yen: by using _yūzen_ crêpe the price
may be kept as low as 100 yen, but damask will amount to 200 yen, and
if a person is extravagantly inclined there are no limits to the
cost. As the _tsumi-yagu_ set would be charged at an exorbitant figure
if purchased from an ordinary _gofuku-ten_ (drapery store) they are
usually ordered from one of the regular contractors in the Yoshiwara.
There is generally a tremendous amount of bargaining done before the
price of the _tsumi-yagu_ is finally settled, and it is said that when
the negotiations are made by the brothel-keeper, that astute gentleman
invariably dovetails into the figure charged a commission of about 20%
(twenty per cent.) as an honorarium presented to himself for “valuable
services” rendered. A set of _tsumi-yagu_ consists of three _futon_ and
a large coverlet or quilt: if it be summer a mosquito net is added,
and if it be winter a lighter coverlet. As a rule the colours chosen
are very loud indeed: the older women prefer pale-blue for the lining,
but the younger girls usually have the coverlets lined with red. The
_futon_ are made like a mirror in a frame, the centre panels being of
the same colour as the linings of the coverlets: the collars of the
latter are made of velvet. On the coverlet is worked in gold thread the
crest of the guest who has presented the set as well that of the _yūjo_
who has received it. A small (light) coverlet (_ko-yagu_) is generally
wadded with the best _wata_ (cotton wool), but in large coverlets
(_ō-yagu_) and _futon_ an inferior quality of wadding is used. When
the set is quite completed, it is placed on a stand and exhibited
just inside the entrance of the brothel, facing the door-way, so that
everybody who passes is bound to see the show: and in order to further
attract attention, the _tsumi-yagu_ is labelled with a paper on which
is written in bold letters the name of the lucky _yūjo_ who owns it. On
the day of this ceremony it is usual for the guest concerned to give a
“_sō-bana_” (_a present made to all the_ _inmates of a house_) of
5 yen, and a further sum of 5 yen as “_soba-dai_” (_cost of buckwheat
macaroni_) to be partaken of by all the _yūjo_ in the establishment.
As it is not considered to be conducive to the good reputation of a
woman to continue this exhibition of _tsumi-yagu_ for too great a
length of time, there arises the necessity for another ceremony called
“_shiki-zome_” (commencing the use of the _yagu_). On this occasion the
lady in question plays the part of hostess, and she is bound by custom
to entertain the guest who has presented her with the set by giving
him a feast and engaging at least a couple of _geisha_ to enliven the
proceedings. When a guest undertakes to provide a set of _tsumi-yagu_
for his _innamorata_ he must be prepared to spend on tips, and for
various sundries, at least 50 yen over and above the cost of the
bedding, and if he makes a _hikite-jaya_ a party to the arrangement
this will cost him another 10% (per cent.) commission. An exhibition of
_tsumi-yagu_ being considered something to be proud of, women who have
no guests rich enough to render them the necessary pecuniary assistance
occasionally go so far as to even borrow funds from the brothel-keepers
and order a set of bedding for themselves, thus securing a fine
advertisement and enhancing their reputation. It however sometimes
happens that the girls find themselves unable to refund money thus
borrowed, and are therefore compelled to dispose of the bedding they
once so earnestly coveted: these circumstances have tended to place a
number of second-hand sets of _tsumi-yagu_ on the market, and it is a
said that certain women who are vain enough to love empty show, but
too poor to afford it, borrow these relics of extravagance on hire and
exhibit them to the public gaze! But here let us be merciful and draw a
veil over the doings of these unfortunate women, for it would be
boorish and unmanly to further expose the weakness of frail humanity.
[As to the origin of this custom, it appears that a _kōshi-jōro_ of the
Miura-ya (kept by Magosaburō) named Utanami, first introduced it in the
era of Kwampō (1741–1743)].
“Sōbana.”
(“_All round “tips.”_)
A “_sōbana_” is a tip by a guest to all the servants of a brothel, and
is shared in by the _yarite_, _shinzō_, men-servants, and bath-room
attendants. It is usually given on a _mombi_ (crest day: New year’s
day, the _go-sekku tori-no-machi_ festival, etc.) and varies in
amount according to the class of house: the sums given are regularly
classified and divided into amounts of 2-1⁄2, 3, 4, and 5 _Yen_, etc.,
as the case may be. When _sōbana_ is given, the names of the donor
and his lady friend are posted in a prominent place in the house: the
larger the number of such posters, the greater is the honour to the
woman in question. This custom appears to have been in vogue since
ancient times, for the amounts fixed during the Kwansei era (1789–1800)
were 3 _ryō_ for a first-class house, 2 _ryō_ for a second-class house,
1 _ryō_ 2 _bu_ for a third-class house, 2 _bu_ for a lower grade
establishment. When a _sōbana_ is given, all the servants of the house
come up to the room and kneeling down outside thank the guest for his
present and clap their hands in unison.
“Shokwai” AND “Mi-tate”
(_First meeting_) AND (_Selection of women._)
[Illustration: Introduction of Courtesans to Guests.]
The “_Zensei Kuruwa Kagami_” (全盛廓鑑) says that in the dusk of the
evening, when all is chilly and lonesome, the deep-toned curfew
bell of Iriya sends forth a resonant and withal melancholy clang
which depresses the spirits and fills the heart with a vague sense of
gloomy sadness. Strange as the coincidence may be, just at the very
time the solemn sound of the temple bell is reverberating over hill
and dale, the women file into their cages (_misé wo haru_) in the
brothel quarter, the “_flowers of the Yoshiwara bud and blossom_,”
and the whole _yūkwaku_ becomes a scene of vivacious animation. These
courtesans (who have practically fallen to the level of being regarded
as so much merchandise awaiting buyers) sit for hours exposed to the
gaze of the passers-by, decked out in all the splendour of coral and
rare tortoise-shell hair-pins stuck around their heads like a saint’s
glory, and gorgeous in dresses of silk and gold and silver embroidery,
the heavy cost of which weighs them down and forces them still deeper
into the “_stream of debt_.” In days of yore it was customary for the
women to enter their _misé_ while the “_sugagaki_” was being played
and bunches of clog-checks (_gesoku-fuda_ = wooden tickets given to
guests in exchange for foot-gear left in charge of attendants at the
entrance) were being struck noisily against the floor. Among the _yūjo_
the _o shoku kabu_ (or proud leading beauty of the house) with painted
face, rouged lips, and penciled eyebrows, sits lazily smoking her long
red bamboo pipe, emitting faint blue rings of tobacco smoke from her
mouth, pretending not to see the crowds of people swarming in front
of the cage and yet—cat-like—furtively watching their every movement.
While the other women are engaged in a whispered conversation about
the personal appearance of on-lookers, the _o shoku_ feigns to be
absorbed in the perusal of a long espistle supposed to have been
received from one of her numerous admirers, and every now and again she
artfully allows a smile to irradiate her countenance as a token that
she is reading a specially interesting sentence. Such a skilful Jezebel
is sure to have some rich guests who keep her liberally supplied with
funds: as a rule she will have no lover (_jōrō_ 情郎 = a male paramour:
sometimes read as “_ii hito_”) to whom she must give pecuniary
assistance, and generally speaking she will avoid _koke-kyaku_ (young
and impecunious guests) and _san-jaku-obi_ (low class of loafers) as
she would the pest. Rather slender in person, having a good contour
of the nose, and possessed of bright eyes, if she cannot be called
strictly beautiful she is at least very interesting and attractive.
This “Dainty Iniquity” (as Kipling puts it) is always sure to be a
perfect actress, and looks irresistibly charming as she talks with her
sister _yūjo_ in a whisper or as she gracefully bends her head and
covers her face with her sleeves to stifle an apparently spontaneous
burst of merry laughter and then quietly flirts with, and encourages,
some likely guest who is gazing at her intently through the bars. The
above is a rather lengthy description of a _yūjo_ who is expert in the
art of twisting men round her little finger and manipulating guests
(_kyaku wo nekokasu_) according to the circumstances of the occasion.
Those women who are worried by anxiety about private affairs will be
seen to conceal their hands within the folds of their dress, to allow
their heads to sink deeply into their _eri_ (collar of a dress) in an
irregular manner, to every now and then glance round the cage and up
at the ceiling, or to otherwise reveal, by their fidgety and impatient
demeanour, that they have something unpleasant on their minds. Those
who act unreservedly and chat noisily with the other women are
assuredly new to the life, and when they become familiar with guests
they are unfeignedly sincere in their regard for those they like.
The woman who sits out of the row sideways and listens to the ribald
songs of the passers-by shows her fickle and forward disposition by
treating all as fish who come to her net: she has sympathy with no man
but as a matter of business policy and will bestow equal attention on
all comers, no matter whether they be good-looking, bad-looking, or
jealous as fiends. Those who are blowing the berry of the winter-cherry
(_hōzuki_), making paper-frogs as a charm to attract the men for whom
they are waiting, practising “_tatami-zan_” (divination by mat-straws)
and playing other innocent little games, are generally new arrivals
in the house who are willing to please their guests in every possible
manner.
[Illustration: Courtesans making their toilettes.]
When a guest wishes to be accommodated with a “temporary wife,” and
enters the house to which she belongs, he is led by a _wakai-mono_
to the _hiki-tsuke-zashiki_ (introduction chamber). If he glances
round the room he will perhaps find the alcove decorated with a large
_kakemono_ (hanging-picture) representing the rising sun and a stork,
the ceiling painted with an enormous phœnix, and everything so spick
and span that he will wonder whether he is in fairyland. Candles are
now lighted, and a black-lacquered tobacco-box brought in. Next a
set of three _saké_-cups are produced with which to perform (though
nominally) the necessary nuptial ceremony called the “_san-san-ku-do_”
in imitation of the custom observed at a real wedding. The girl then
appears accompanied by her _shinzō_ who plays the part of a go-between
(_nakōdo-yaku_) for the couple by uttering the conventional phrases of
“_anata_” and “_konata_” and the unholy “marriage” ceremony is
finished. After this the _yūjo_ retires to change her clothes, (_o
meshi-kae_) and at the same time the guest is conducted to her
apartments where the table is laid ready and a charcoal fire is glowing
in an enormous brazier. This bright red, and almost incandescent
charcoal fire, always reminds one of the ardent passion of the poor
devil of a guest in the next room, who alone and waiting for his
partner glows with all the rage of jealousy and intense longing! Food
is served in dishes of enormous size, but the net contents of these
platters are microscopic, so the “feast” amounts to little more than a
mere show and is just sufficiently imposing to warrant being handsomely
charged for in the bill under the title of “_On ryōri_” (the august
repast). The chopsticks used are new for the occasion and are regular
_wari-bashi_ (a stick made of _sugi_ wood with a split at one end, used
as chopsticks by splitting it in two) but, alas! they too are soon
prostituted to base uses, being used as snuffers to cut candle wicks,
and even as tongs for the _hibachi_ of a tenantless room![29]
It is curious to note that when tea-house people offer a _saké_-cup
to the _yūjo_ they invariably sit obliquely, partially turning their
backs to the guest and never facing him directly. Perhaps this custom
unintentionally betrays their secret intention of sitting on the
visitor, squeezing him for all he is worth, and then kicking him out!
The _yūjo_ herself at the first meeting with a new guest is apt to look
askant at the latter and “draw” him by occasionally gossiping about
her “sisters-in-vice.” Every now and again one may faintly hear the
sound of a pipe being sharply struck against a bamboo spittoon in
a neighbouring room: this is probably a signal that your neighbour is
lonely and weary of waiting for his sleeping-companion, and you may
make up your mind that he is craning his neck forward and straining his
ears to catch the sound of her returning footsteps. It is said that a
warrior awakens at the jingling of a horse’s bridle-bit, but, under the
above circumstances, the sound of a woman’s sandaled feet shuffling
down the passage appeals to the drowsy watcher with ten times as much
force and braces him up like a powerful tonic. In Japan, however, men
do not like to show themselves too “soft,” and when the woman finally
slides back the _shōji_ (paper shutter) of the room her guest is
almost sure to sham being fast asleep: this is called “_tanuki-neiri_”
(badger-sleep). As the hour advances, the crowds of loafers (known as
“_hiyakashi_”) in the Yoshiwara gradually disperse and nothing, except
the cries of peripatetic macaroni sellers (“_nabeyaki udon_”) and blind
shampooers (“_amma-hari_”) and the dismal howling of impish mongrels
disturb the stillness of the night; but even when comparative quietness
has been restored, the guest’s sleep has been so thoroughly broken
that he remains tossing uneasily on his pillow longing for daylight.
After a few hours of fitful slumber, which leave the wretched fellow
even more fatigued than before, the eastern sky begins to glow with a
faint rosy light, and with the dawn of day the great black crows in
the neighbourhood awake and fly circling around, cawing loudly as if
in mockery and derision. Jaded and exhausted by excess, and played
out by reason of his night’s debauch, the poor guest crawls wearily
out of bed, feeling as limp as a dish-clout, and as a preparation for
his return home proceeds to drag himself to the wash-stand and make
his toilet. Oh,! what a face he sees reflected in the water—a
drawn, distorted, and haggard face, with pale bloodless lips and sunken
bloodshot eyes! And oh! the nausea resulting from undigested food and
adulterated _saké_, the agony of “hot coppers,” the racking headache,
and the formidable bill—six feet long—which makes one’s hair rise on
end! Then the woebegone victim of his own asinine stupidity settles his
bill and sneaks away from the presence of the _yūjo_, who comes to bid
him farewell with the words—“_o chikai uchi_ ...” (please come again
very soon), climbs heavily into a _jinrikisha_ and is whirled away to
his own residence, thoroughly agreeing in spirit with the words of the
Vulgate:—“_vanitas vanitatum, et omnia vanitas_.”
[Illustration: Interior of a Brothel.
1. Nightwatchman (interior) on his rounds.
2. Time-keeper’s office.
3. _Yūjo_ arranging various matters with the “_yarite_.”]
“I-tsudzuke no koto.”
(_Spending several consecutive days in a brothel._)
The “_Zensei-Kuruwa-Kagami_” (全盛廓鑑) says:—“The act of remaining in a
brothel for several days, owing to stress of weather or other cause, is
known as _i-tsu-dzuke_.”
“O cha wo hiku” to iū koto.
(“_Tea powdering._”)
It is remarked in the “_Dōbō Go-yen_” (洞房語園) that the term _o-cha
wo hiku_, as applied to women of ill-fame who have no guests, is
of ancient origin and should be considered as one of the peculiar
idiomatic expressions of the Yoshiwara dialect: everywhere in
prostitute quarters some special dialect is exclusively used, and
this is more especially true of the Yoshiwara of Tōkyō. In the era of
Keichō (1596–1614) the servants of the various tea-houses at Uji (near
Kyōto) were practically unlicensed courtesans, and were in the
habit of carrying on illicit intercourse with guests who patronized
their establishments. These women employed their _leisure_ time in
pulverizing tea (_o-cha wo hiku_) for the tea-drinking ceremony, and in
course of time this expression “_o-cha wo hiku_” came to be applied (as
a slang phrase) to a courtesan who had no guests in consequence of her
unpopularity. By and bye this phrase was brought up to Tōkyō by natives
of Uji and Kyōto and became one of the idiomatic expressions of the
Yoshiwara. It is now used throughout the entire Empire.
[Illustration: 居瀆之㘴舖 Guest Detained by “Love and Stress of
Weather.” Kiōwa period (1801 to 1803). (_After the Picture by Kitagawa
Utamaro._)]
Shiki-zome no soba-burumai no koto.
(_Presentation of buck-wheat macaroni to celebrate the first use of
night-clothes._)
It appears to be a universal rule to present _soba_ to all the inmates
of the house whenever a _yūjo_ uses her newly-made night-clothes
for the first time. This custom is binding on all classes of women
from the proud _oiran_ down to the _nagaya-jōro_, but, practically,
the lower class women are debarred from making an exhibition of
night-clothes (either on their own account or by the assistance of
guests) by reason of the expense involved: it may therefore be said
that this ceremony is performed by women belonging to first (_ō-misé_)
and second-class (_chū-misé_) houses exclusively. Originally this
ceremony was only performed when the _tsumi-yagu_ was used for the
first time, but later it became a rule that when any new night-clothes
began to be used—generally on New Year’s day—buckwheat macaroni was to
be presented to the inmates of her house by the _yūjo_ to whom they
belonged. This custom, which still survives, is called “_shiki-zome no
soba-burumai_.” In the houses of ordinary people the spreading
out of bedding and night-clothes in the day time is greatly disliked
as unlucky, therefore, when a sick person recovers, the occasion is
one of rejoicing and congratulation and is called _toko-agé_ (removal
of bed-clothes). In brothels, however, just the reverse idea obtains,
the keepers rejoice to see the night-clothes used even in the day-time,
their fervent wish being to have the bedding employed as much as
possible because it bears an important relation to the prosperity of
their “trade.”
In different brothels different devices are adopted for the purpose of
determining who shall be considered the “leading lady” of the house
(_o shoku_). Some take the number of guests as a standard, others
the number of _najimi-kyaku_ (that is “regular guests”) while others
adopt the rather disgusting method of fixing the order of precedence
according to the total amount of money spent by the guests of the
respective women. In first-class establishments no such methods as the
above are employed, and the rank of the women is determined by the
number and value of their own night-clothes and those given by them to
the servants of their own and other houses. The idea may be attributed
to the great esteem in which night-clothes are held by both men and
women in the Yoshiwara.
[Illustration:
Courtesans on their “Rounds” visiting Various Guests at Night.
Courtesan entering a Guest’s Room.]
“Shashin-mitate-chō.”
(_Photograph albums for facilitating the selection of women._)
In lower-class houses the women are exhibited after nightfall, when
the lamps are lighted, in the long narrow cages of the brothels, where
they sit with powdered faces and rouged lips looking for all the world
like so many motionless wax figures, and are, to all intents and
purposes, set out for sale like ordinary articles of merchandise. Under
these conditions, a would-be guest has the opportunity of making his
selection very easily, for he has only to indicate the woman he fancies
to obtain her company immediately. In the first and second-class
houses, however, there is no such thing as a _hari-misé_ (a “dressed
shop-front”) and persons who intend to visit them must be introduced by
a _hikite jaya_: the selection of the particular girl to be engaged is
usually left to the discretion of the mistress of the tea-house, who of
course does her best to please her patrons by choosing for them women
likely to prove satisfactory.
Until about 1882 (15th or 16th year of Meiji) the photographs of
all the inmates of houses were displayed in frames in front of the
respective brothels, but now this plan has been abandoned, and albums
containing portraits of the women belonging to first and second-class
houses are provided in the _hikite-jaya_ for the convenience of
guests. These books are called “_Shashin Mitate-chō_” (albums of
photographs to facilitate the selection of women), and it is believed
that the following specimens of prefaces will be interesting:—
Photograph-album of the _O-hiko-rō_:—
“The old saying ‘_if you wish to see flowers go to Yoshino_’ seems
somewhat stupid considering that one can find any flower which he
desires to see if he goes to the Yoshiwara. Nowadays, however, customs
of ancient times are changing, and the flowers no longer parade the
Naka-no-chō. The flowers which are shown to the public are limited
to those which blossom on the small fences, while the _oiran_ (who
may be likened to the queen of all flowers) are concealed from the
public view in the privacy of their own chambers, and may be compared
to beautiful blossoms hidden from sight by a dense mist. However, the
practice of promenading in the Naka-no-chō is too old a custom to be
revived in these times, and so we have hit upon the plan of grouping a
bevy of belles into the space of a small photograph-album, and leave
our honourable guests to select the flowers their fancy may dictate,
etc., etc.”
“This preface winds up with a poetical appeal—quite untranslatable
owing to puns on words—that the patronage of guests “may not be as
short as the dream of a spring night,” but as steady and constant as
the bedding used in this house is thick and beautiful. [In Japanese
the word “thick”—_atsui_—has a double meaning: it means “thick” as an
antonym of “thin,” and also “plentiful, liberal, and bountiful.” It
also has the sense of “excessively friendly” or “intimate,” and is
sometimes used to express the idea of “in love with.”]
Photograph-album of the _Kado-ebi-rō_:—
“The Chinese character _kōzen_ (紅髯 = red beard) may be also read
_kōzen_ (浩然 = resolute: firm) on account of the similarity of sound,
and the characters _kairō_ (海考 = a shrimp. These characters also sound
as “_ebi_”) which is part of the name of this house and resemble in
pronunciation the letter _kairō_ (偕老 = becoming old together and being
buried in the same spot undivided even by death.) In the letters in
use from times immemorial are ideas not fully expressed. Individual
selection may be left to individual taste.”
[Illustration: Guests making their toilettes preparatory to leaving the
house.]
Shōgi no nedan ai-jirushi.
(_The signs and cyphers showing the fees of courtesans._)
According to the “_Kyokutei-Zakki_” (曲享雜記) written by the well-known
novelist Bakin, the _tayū_ were all represented by the mark ⧗ in the
_saiken_[30] (guide-books) during the Kyōhō era (1716–1735). * * * * At
that time the price was 60 _momme_ (10 _Yen_). A class of courtesans
called _kyō no tayū_ came into existence at the time, but dropped
out of fashion without receiving much attention from the public. The
various classes of women were represented by the following marks from
the era of Kyōhō (1716–1735) to the Hōreki era (1751–1763):—
⧗ Tayū: ⌗ Kōshi-jōro: [SYM_3] Ni-nin Kaburo: [SYM_4] Yobi-dashi: [SYM_5]
Tsuki-dashi: [SYM_6] Zashiki-mochi: [SYM_7] Kōkin: [SYM_8] Bunkin: ◓
Chū-ya: ㊁ Ni-shu: ╳ Uchi-komi: Yama-sancha: Umecha: ㊄ Go-sun Tsubone: ⬤
Nami-Tsubone and Ha-age-ya: ⬛ Chaya. By the 6th year of Gembun (1741)
the fees of courtesans were stated in _Saiken_ for the first time as
follows:—
⧗ Tayū, 80 _momme_ (_Yen_ 13.33) ⌗ Kōshi, 60 _momme_, (10 _Yen_); ヨ
Yobidashi, 45 _momme_ (_Yen_ 7.50); ▲ Sancha (for day and night) 3
_Bu_ (_Yen_ 7.50); ⬤ Bun, 1 _Bu_ (Yen 2.50); ╳ 12 _momme_ (2 _Yen_);
㊃ _Shi-sun_: ㊀ Nami-Tsuboné; ∴ six tea-houses attached to the _ageya_.
Since then matters have undergone various changes, but the following
are the present (1890) cyphers used in the _Saiken-ki_:—
_Yen. Sen._
(Iriyamagata hitotsu-boshi) [SYM_7] fee is 1.20
(Iri-yamagata) [SYM_6] “ .90
(Mitsu-yamagata hitotsu-boshi) [SYM_9] “ .60
(Mitsu-yamagata) [SYM_10] “ .50
(Futatsu-yamagata hitotsu-boshi) [SYM_11] “ .40
(Shiro-yamagata) [SYM_12] “ .35
(Yamagata hitotsu-boshi) [SYM_13] “ .30
(Yamagata) [SYM_14] “ .25
(Tsuji) ╳ “ .20
San-gyō chōmen no tsuke-kata.
(_The system of book-keeping employed by brothels, tea-houses,
and courtesans._)
In former days there were no fixed rules as to the system of making
entries in books kept by brothels and tea-houses, and, in consequence,
considerable inconvenience was experienced by the authorities when
they found it necessary to examine the accounts. In February, 1884,
the “Controller of the Three Professions” fixed a uniform system of
entries to be made in the account-books of brothels and tea-houses,
instructing the proprietors of such establishment to adhere to the same
in future. The system thus inaugurated in 1884 is still in force, and
the following is a description of the ledgers, etc., used.
On the cover of a brothel ledger—right in the very centre—are written
the words “_Kashizashiki Motochō_,” on the right “_Meiji nan nen nan
gatsu nan nichi yori, nan nen nan gatsu nan nichi made_” (From the
_______ day of _______, to the _______ day of _______, 189__); and on
the left the name of the house and its proprietor. The book is to
consist of upwards of 200 sheets of _Nishi-no-uchi_ or _Ōban-shi_
(paper), and the following particulars are to be printed in it:—
1.—Name of the brothel.
2.—That the book is to be preserved for at least four years.
3.—That taxes are to be paid daily in accordance with the regulations.
4.—That in this book are to be entered in detail the names of every
guest, names of the _shōgi_ engaged, names of _geisha_ called, names
of the _hikite-jaya_ concerned, the fees of _shōgi_ and _geisha_,
amounts spend by guests, advances made, etc. [These items may be
expressed by signs (in cypher) but their total must be written in
ordinary characters.]
5.—That in the first page of this book the signs (cyphers) to be used
in a brothel in describing various items shall be shown, and that in
case of alteration of such cyphers due notice shall be given to the
manager’s office.
6.—That besides this ledger the use of two memorandum books (one for
the proprieter of the house and one for the _shōgi_ herself) shall
be allowed, but that such memorandum books shall be stamped with the
stamp of the manager and be kept at least for one year.
7.—That the payment of taxes shall be made in accordance with this
ledger, and that daily accounts shall be made up in the following
form. (The monthly accounts shall be made up in the same manner.)
(_See over._)
(ACCOUNT FORM.)
Number of guests
Number of women engaged _____________
Total gross receipts _Yen_. _____________
=====================================================+======+=======
ITEMIZED ACCOUNT. |_Yen_.|_Sen_.
-----------------------------------------------------+------+-------
_Shōgi age-dai_ (Courtesan’s fees) | |
_Sekiryō nan ko_ (Hire of rooms) | |
_Shu-kō-han ko-mono-dai_ (_Saké_, food and sundries) | |
_Geigi age-dai_ (_Geisha_-fees) | |
_Shūgi sono hoka tate-kae_ (Gratuities and advances) |______|______
Total receipts of the brothel |______|______
Taxes due thereon |______|______
Total receipts of the courtesans |______|______
Taxes due thereon |______|______
| |
Total taxes due |______|______
--------------
The foregoing rules are issued by the Metropolitan Police Board
and are to be strictly complied with.
(Date) ______
Controller of the Shin-Yoshiwara.
(The number of pages in this book are ______)
The signs used in this book are as follows:—
◯ Fee of courtesan ____ _sen_
⬤ Ditto.
☐ Ditto.
▉ Ditto.
△ _Geisha’s fee_ ____ _sen_.
[SYM_15] Food.
▯ Ditto.
[SYM_16] _Saké_, 1 bottle ____ _sen_.
[SYM_17] _Saké_, 2 bottles ____ _sen_.
EXAMPLE OF THE USE OF ABOVE CYPHER.
Date _________________
Name of _hikite-jaya_.
◯ Name of guest.
“ “ courtesan.
◯ [SYM_18] “ “ guest.
“ “ courtesan.
◯ [SYM_19] “ “ guest.
“ “ courtesan.
[SYM_20]. Total _________________
The above example shows that a party of three guests engaged three
_shōgi_ and one _geisha_, the latter having been employed during the
burning of four joss-sticks (_senkō_). It also shows that they were
supposed to have ordered three sets of _ō-dai_ (large dishes) and one
set of _nami-dai_ (small-dishes) and consumed four bottles of _saké_.
It is superfluous to give an example of the system of book-keeping
employed in _hikite-jaya_ because it is practically the same.
There is another small book (_te-bikae_) kept by each _shōgi_ which
is commonly known as the “_gyoku-chō_” and in which the number
of her engagements is noted. As to the mode of entering up this
_gyoku-chō_, there appears to be no fixed rule, but according to
the regulations each _shōgi_ must make up an account of her earnings
every ten days and get the entry certified by the stamp of the
brothel-keeper. This book must be kept as long as she remains in the
business.
Mr. Norman, in his “_The Real Japan_,” observes with regard to the
book-keeping methods of the Yoshiwara:—“It goes without saying that no
Solomon could devise theoretical safeguards which would practically
protect a girl under such circumstances from unscrupulous greed. For
instance, every person in Japan has a private seal corresponding to
a signature with us, with which all documents, even down to private
letters, are attested, and to counterfeit or reproduce such a seal is
forgery. Now the keeper of every _kashi-zashihi_ is compelled by law
to keep a big ledger in which all money transactions between himself
and the _shōgi_ are entered, and the _shōgi_ is compelled to keep a
similar smaller book in which the keeper makes identical entries, each
of which must be attested by her private seal. This book is regularly
inspected by the police with a view to prevent extortion, and it is
expressly forbidden by law for the keeper to take away the girl’s seal.
On one occasion I visited the largest and best _kashi-zashiki_ in the
Yoshiwara in company with my official interpreter. The keeper was a
sharp-looking woman of fifty, who had 45 _shōgi_ in her house, which
she had just built at a cost of 45,000 dollars. We were taking tea
ceremoniously in her private apartments, and after a while I inquired
if I might put a special question to her. “Certainly,” she replied.
“Any question?” “Certainly.” “Then,” I said to the old lady through my
official interpreter, “will you be so kind as to show me some of the
seals belonging to your ladies, that you have at this moment in your
possession.” She winced visibly and turned several colours, but after
a minute got up without a word, trotted off and returned immediately
with the private seal of a certain Miss Man, and I took an impression
of it in my note-book, to her evident great alarm. This meant, of
course, that she was in the habit of entering the accounts in all the
books, attesting them herself with the seals of all her _yūjo_, and
thus the police would be shown an immaculate record, while the _shōgi_
themselves would never even see the books, or know with how much they
were debited and credited from week to week.”
By the way, a hypothetical specimen of the entries made in a book kept
by courtesans is given in the “_Share-bon_” (洒落本) written by Jippensha
Ikku—the ancient Mark Twain of Japan.
HOW A VISITOR’S BOOK SHOULD BE KEPT.
1st • (first) Dearly beloved one. Oh! how I love you! come—do come!
_Hamanoya_.
2nd ◦• Vexing and horribly irritating. _Kichisama_.
3rd • As he does not know my real mind it is very irritating.
_Ryūsama_.
4th • (second) Oh! you sickeningly ugly brute! Your face is like that
of Heisaku the Octapus! _Sumiya_.
5th • (first) The fellow looks just like Hachibei of Tamachi. (_i.e._
“_an ass_.”) _Iseya_.
6th ◦• (first) I love you! Come quickly! _Sumiya_.
7th • (first) Yes you are handsome: if you want to come then come.
_Minatoya_.
8th ◦• Ah! what joy and gladness! _Minatoya_ (and) _Yasu Sama_.
Yūjo no hiki-fuda.
(_Brothel advertisements._)
Up to the 20th year of Meiji, both brothels and _hikite-jaya_ were
in the habit of freely distributing hand-bills for the purpose of
attracting guests, but since then all classes of advertisements, having
for their object the enticing of visitors to prostitute quarters, have
been strictly prohibited by the authorities. Under these circumstances,
it may prove interesting to reproduce some specimens of the old
hand-bills issued by enterprising brothel-keepers in past times, and
accordingly they are printed below.
[_Note_.—The first of these two hand-bills is dated the 5th month of
the 1st year of Kayei (1818), the second the 5th month of the 1st year
of Ansei (May 1854) and the third the 8th year of Meiji (1875). The
last-named, unlike the others, was neither “antique” nor “refined” and
was printed on foreign paper with regular foreign-style type, showing
that the resources of civilization are pressed into every kind of
service in this go-ahead country!]
Specimen No. 1.
It affords me much pleasure to know that my patrons are all doing
well. By reason of your kind patronage and favour, for which I am
extremely grateful, I have been enabled to continue the business of
brothel-keeping for many years, but regret to observe that there
are signs that the prosperity of the Yoshiwara is on the wane. The
cause of this state of affairs may be attributed to the fact that
evil practices have arisen in the houses of some of my confrères, who
are carrying on their profession according to the dictates of their
own fancies and entirely disregarding the regulations promulgated in
the era of Kwansei (1789–1800). For instance, a custom has arisen of
paying to _hikite-jaya_ as much as 300 to 350 _mon_ (about 30 to 35
_sen_) commission for each 2 _shu_ (_yen_ 1.25) spent by a guest, or
even of equally dividing between tea-house and brothel the amount
of money spent by him, the consequence being that more than three
hundred _hikite-jaya_ have sprung into existence within the past
few years. Under these circumstances, it follows as an inevitable
consequence that the food and drink served to guests is allowed to
deteriorate in quality, thus causing a general depression in our
“trade.” I have therefore hit upon a different plan of carrying on the
profession, and decided not to receive any guests sent from tea-houses
in future, but to conduct my business on cheap and expeditious
lines at the “spot cash” prices mentioned below. Moreover I have
engaged a large number of “_filles de joie_” who are guaranteed to
afford satisfaction to guests in every respect, and I propose to pay
scrupulous attention to the quality of _saké_, _food_, and _bedding_.
I shall be greatly obliged if you will kindly inform your friends of
these improvements introduced by me, and earnestly beg that you will
favour me with a visit, either in the daytime or night-time, coming
direct to my establishment without making your arrangement through a
tea-house.
(Hitherto.) (Reduced price.)
1. Women possessing _zashiki_ 1 _Bu_ 12 _Momme_ (_silver_)
(_Yen_ 2.50) (_Yen_ 2.00)
2. Women possessing _heya_ 2 _Shu_ 6 _Momme_ (“)
(_Yen_ 1.25) (_Yen_ 1.00)
3. _Private geisha_ 2 _Shu_ 6 _Momme_ (“)
(_Yen_ 1.25) (_Yen_ 1.00)
N.B.—We supply the “_Masamuné_” brand of _saké_, and our cuisine is
fully equal to that of the leading restaurants.
Tips and gratuities to “lady friends” and _geisha_ may be given
according to the discretion of guests.
Positively no guest sent through a tea-house will be received or
entertained.
(Date)
(Signed) MANJI-YA MOKICHI,
Sumi-chō,
Shin Yoshiwara.
Should any woman be found unsatisfactory another may be substituted.
[Illustration:
卍: (Manji)
引手なし: (No introducer required.)
現金: (Terms “spot cash.”)
遊女大安賣: (_Filles de joie_ for sale at very cheap prices.)]
Specimen No. 2.
Verbal Message.
I am exceedingly glad to know that my patrons are all in good health.
I am also thankful that, owing to the long period of continued
tranquillity and peace we are enjoying, I have been enabled to pursue
my occupation undisturbed for many years. Wishing to introduce some
novelty for the amusement of my guests, I have devised a new style
of dance which is performed by my _yūjo_ to the accompaniment of
popular songs. This dance is something like that anciently performed
by _shira-byōshi_ (a kind of singing girl of the _Hetaira_ type) and
I am confident that it will prove a source of pleasure to my august
patrons. Persons coming to my establishment, either through the medium
of tea-houses or direct, will be treated with all possible courtesy
and attention, and as regards the question of expenses the aim of my
house will be to make my prices as moderate as may be compatible with
doing everything conducive to the entertainment of guests. I hope
that this new departure may be made known to the public at large; the
members of which are respectfully solicited to visit my house in an
unceasing stream (in numbers).
Hire of _yūjo_, and cost of _saké_, soup, | 3 _Bu_.
_on-suzuributa_ (a tray of cooked foods), (fish | (_Yen_ 7.50)
served _on-hachizakana_ in dishes), and _mitsu-mono_ |
(a set of three procelain vessels containing food).
Hire of _yūjo_ and cost of _saké_, soup, a tray of | 2 _Bu_.
cooked food, and _mitsumono_. | (_Yen_ 5.00)
Hire of _yūjo_ and cost of _saké_, soup, _kuchi-tori_ | 1 _Bu_ 2 _Shu_.
(a side dish), and _mitsumono_. | (_Yen_ 3.75)
Hire of _yūjo_ and cost of _saké_, soup, side-dish, | 1 _Bu_.
and _futatsu-mono_. | (_Yen_ 2.50)
Hire of _yūjo_ and cost of soup, and _futatsu-mono_. | 2 _Shu_.
| (_Yen_ 1.25)
Per _geisha_ and cost of one dish of food. | 2 _Shu_.
| (_Yen_ 1.25)
N.B.—For those who do not like _saké_, tea and _kuchi-tori_ (a side
dish of sweet food) will be served.
In force from the 10th day of the 5th month (cycle of the Tiger).
Daikoku-ya. Bunshirō.
Yedo-chō It-chō-me,
Shin Yoshiwara.
Specimen No. 3.
Notice.
At the time of the establishment of the _Sangyō-kwaisha_ (office of
the “three professions”) I was obliged, by reason of unavoidable
circumstances, to transact the business of the office, and in
consequence trouble arose between the brothel-keepers and owners
of tea-houses. For a time it appeared as if the trouble had blown
over, but apparently such is not the case, as I now learn that the
tea-houses have combined and agreed not to send a single guest to my
house. Far from being affected by their compact, my business is as
brisk as ever, because, I depend on my patrons themselves and not
on the tea-houses. Nor is this all, for when the three and twenty
fair ladies (_oiran_) who belong to my house heard about the selfish
decision of the tea-house keepers, they justly gave vent to their
indignation at this attempt to interfere with their profession. They
proposed that in future they and I should combine to increase the
popularity of our house, and with this end in view I have been urged
by the _oiran_ to do all in my power to ensure the satisfaction of
guests, while they on their part have promised to cooperate with
me in order to convince the tea-house folk of the fact that the
Yoshiwara would prosper without any _hikite-jaya_ at all. What is
meant by the resolution of the fair damsels it is for visitors to my
house to explain. Accordingly I have decided on the following plan of
action:—Firstly, to endeavour to curtail the expenses of guests to the
lowest possible figure, and secondly, to see that every care is taken
to ensure their pleasant entertainment. As to the females in waiting,
their number will be further increased, and they will appear clad like
the graceful _nakai_ (waitresses) of Kyōto and Ōsaka. Care will also
be exercised in the _cuisine_ of my house, and certain dishes will be
served without extra charge. These alterations will take effect on and
after September 1st next, and it will then remain with you to test the
truth of this announcement. I trust that these facts will become
known far and wide, and hope to be favoured with your continued visits
and patronage.
September, 1875.
Kimpei Daikoku.
(_Kashi-zashiki_ keeper)
Yedo-chō It-chō-me,
Shin-Yoshiwara.
Ageya no sashi-gami.
(_Summons to the “Ageya.”_)
In ancient times a guest was unable to visit a brothel direct, but had
to negotiate for the services of courtesans through the “_Age-ya_.” The
“_Age-ya_” then issued a written request or “summons” (_sashi-gami_)
to the brothel, nominating the woman desired. The bearer of these
_sashi-gami_ accompanied the courtesans both going and coming between
brothels and “_Age-ya_,” and as soon as guests had finished their
“spree” and left, the _yūjo_ were sent back to their respective houses.
In the “_Kwagai Manroku_” (花街漫錄) a specimen copy of the summons is
given: the size is about 11″ x 5″ (actually 9 _sun_ 6 _bu_ x 4 _sun_ 3
_bu_) and wording as follows:—
Specimen of “_Sashigami_.”
To Shōzaburō Esq.
As we have a guest to-day, we desire to engage the services of a
courtesan belonging to your house named Tsumasaki during the day-time.
I guarantee that my guest is not one of those persons who are “wanted”
by the authorities, but a respectable party, and should anyone be
found to allege anything to the contrary I am prepared to offer an
explanation of the matter at any time or place. The above is written
for future reference.
5th day of the 5th month.
(Signed.) Kyūyemon.
(Proprietor.)(Seal)
(Countersigned.) Chōbei.
(Monthly Manager.) (Seal)
The above was issued in the “_year of the dog_”—the second year
of Tenna (1682)—and at that time Shōzaemon was the keeper of the
“Kadomanji-ya” in Sumi-chō. Again, in the same book, (_Kwagai Manroku_)
are given the following rules, relating to _age-ya_, which were in
force in the Tenna era:—
1.—_Yūjo_ shall not be detained after the departure of a guest.
2.—A man-servant shall be provided by the _ageya_ for the purpose
of escorting _yūjo_ to and from the tea-house: such servant to be
barefooted (_su-ashi_.)
3.—Should a courtesan be unwilling to attend any particular guest,
the _yarite_ (female manager of a brothel) shall endeavour to
prevail upon her to reconsider her decision, and, if the negotiation
be successful, a summons shall be sent to her and the fee paid at
the time of settling accounts. [In practice, the _yarite_ had the
option of deciding whether or not the guest should be accepted.]
4.—When a _yūjo_ who had a previous engagement has been induced to
attend to a later guest, the latter shall pay _shurai-gin_ (an extra
fee) to the tea-house which first engaged her. In case, however, of
a substitute _yūjo_ being chosen, no _shurai-gin_ shall be paid, and
if the original guest who had made special arrangements beforehand
fails to appear, no room-rent (_zashiki-dai_) shall be charged.
Thus, when one wished to engage a courtesan in those times, he had
to make a special arrangement in advance, fixing the date so as to
avoid inconvenience, this agreement was termed a _ken-yaku_ (兼約
= a previous convenant). The act of inducing a woman to cancel a
previous engagement in favour of a later guest was called “_morai_”
(貰ひ = something received, (a gift)), and when this was insisted
upon, the successful bidder had to pay, besides the regular fee, an
extra sum as compensation to the _age-ya_ which was party to such
previous engagement. This extra fee was the “_shurai-gin_” referred
to in the above rules. The origin of the “_age-ya_” dates back to
the Moto-Yoshiwara, and by the eras of Tenna (1681–1683) and
Teikyō (1684–1687) these establishments had reached the zenith of
their popularity. Since the _sancha-jōro_ appeared, the _age-ya_
gradually declined until the 10th year of Hōreki, when they completely
disappeared, leaving _hikita-jaya_ in their place.
“Kuruwa-kotoba” or Yoshiwara Dialect.
It appears that owing to the Yoshiwara being a rendezvous of
people from various parts of the country, there were a great many
provincialisms spoken. This caused considerable inconvenience to
persons visiting the quarter, and therefore, for the purpose of
making the language used as uniform as possible, a kind of dialect
known as the “_sato-kotoba_” (里言葉 language of the prostitute quarter)
was coined, and all the prostitute were taught to speak it. The
“_Hoku-jo-ryo Kigen_” (北女閭起原) says:—
“When a woman speaks the Yoshiwara dialect it successfully conceals her
awkward pronunciation, no matter from what distant part of the country
she may have come, and stamps her as a regular denizen of the quarter.
For this reason, study of _sato-kotoba_ has been greatly encouraged.”
It is, however, suggested by some people that the dialect was
transmitted from Shimabara, Kyōto (a noted prostitute quarter) for
under the “Shimabara” section of the “_Ukiyo Monogatari_” (浮世物語)
reference is made to the popular _sato-kotoba_ words “_kinanshita ka?_”
(have you come?), and “_hayōinanshi_” (go quickly.)
According to ancient records, up to the period of Meiwa (1764–1771)
the honorific irregular verb _masu_ (to be), which is always used as
a terminal in conjunction with other verbs, was corrupted to
“_nsu_” therefore such words as _omoimasu_ (to think) _gozaimasu_
(to be: to have) and _mōshimashō_ (to say, to be) were changed to
“omoi_nsū_,” “gozarin_su_,” “mōshi_n_shō,” etc. From the end of Anyei
(1772–1780) this again changed to “_isu_” and words like “_gozaimasu_”
and _omoimasu_ were pronounced “gozar_isu_” and “omo_isu_.” At that
period “_gozarimasu_” was often pronounced as “goza_nsu_,” or even
“oza_nsu_,” and in the vulgar colloquial it was sometimes pronounced
as “goz_ensu_” or “goz_ēsu_”: accordingly “_nasarimasé_” (please deign
to do) changed to “nasan_sé_,” but in the Yoshiwara dialect this was
further abbreviated to “na_nshi_.” Thus instead of “_o kun nasai_”
(an abbreviation of “_o kure nasarimasé_” = please do) and “_o agari
nasaimashi_” (an abbreviation of “_o agari nasaimasé_” = please come
in: (or) please eat) were developed the words “o kun na_nshi_,” and “o
agan na_nshi_,” etc. From the end of Kyōwa (1801–1803) until the Bunkwa
era (1804–1817) “_masu_” and “_mashi_” changed to “_namashi_,” and
afterwards into _zansu_, _zaisu_, _zaimasu_, _ossu_, _osu_, _ariisu_,
etc.
It also appears that in former times the various brothels had their own
special dialects, but these, not being specially interesting, all the
dialectical differences are omitted here.
A few examples of sundry sentences and expressions may be cited to give
an idea of the language:—
Yoshiwara Dialect. Modern Japanese. English.
Nushi wa mada chaya Anata wa mada chaya Are you still in the
ni iinsuka? ni i-nasaru ka? tea-house?
Kore wo o mi nanshi. Kore wo goran nasai. Please look at this.
Oide nasen ka e? Oide nasaimasen ka? Won’t you go? (or)
Won’t you come?
Mō chitto shite Mō chitto shite I will go (or “come”)
mērinshō. mairimashō. a little later on.
Uso-uso shimē yo. Sawaijā ikenai. Don’t be excited.
Sonnara o Sonnara o tanomi Well then I will
tano-mō-shinsu. mō-shimasu. leave the matter in
your hands.
Sore wa tareshi mo Sore wa dare demo That is the case with
sō de ozansu. sō de gozaimasu. everybody.
Sō ossēsu ga. Sō osshaimasu ga.... You say so but....
Kurashinsu zo e. Uchimasu yo! I’ll strike you!
O busharezansu na. Baka ni suruna. Don’t try and make a
fool of me.
Hagurakasu. Age-ashi wo toru. To catch a person
tripping.
Sonna koto wa Sonna koto wa I don’t know anything
shirinsen. shirimasen. about it.
Yabo. Fu-anai no hito. A stranger who is
unacquainted with a
place.
Sui. Tsūjin. An adept: a person
posted up on all
points; one who “Knows
the ropes.”
Yonde kiro. Yonde koi. Call him.
Hayaku oppashiro. Isoide yonde koi. Call him quickly.
Itte koyo. Itte kuru. I will go.
Ayobiyaré. O aruki nasai. Please walk (on).
Fukkobosu. Kobosu. To spill; To grumble.
Kechi na koto. Warui koto. A wicked thing.
Kosoppai. Kosobaii. Ticklish.
Unasaruru. Osuwaruru. To have the nightmare.
Daijin. Fu-kyaku. A rich guest.
Daté. Daté. Luxurious and
elegant: a fop.
Hanka. Nama-naka. Impertinent and
pedantic.
Shara-kusai. Nama-iki. To pretend to be
something that one is
not. “Cheeky.”
O kan. Atsu-mono. A hot object.
Tanabata. Tama ni kuru kyaku. An occasional guest.
Kuzetsu. Chiwa-genkwa. A curtain lecture.
Sashi. Ai-gataki kyaku. A guest with whom one
cannot meet.
Nushi. Iro-otoko. A paramour.
O yukari sama. Najimi kyaku. A familiar guest.
Mukō no hito. Yō-tashi akindo. A Yoshiwara
storekeeper.
Shirōto-ya. Futsū no shōka. Merchants and
shopkeepers.
Go te san. Go teishu. The proprietor of a
tea-house or hotel.
Okasan. O kamisan. The wife of the above.
Ani-san. Musuko. The son of the above.
Gebizō: Kurai-nuke. Bōshoku suru hito. A glutton.
Inasé. Sugata no yoi hito. A person with an
elegant figure.
Shitta ka yō. Bakarashii. Ridiculous.
Jirettōsu. Jirettō gozaimasu. I am vexed.
Yō-zansu. Yō gozaimasu. All right: Very well.
Nan zansu ka? Nan de gozaimasu ka? What is it?
Kii-shita. Kimashita. Has come.
Dashi-kitte. Arawasu. To show (or) manifest
anything.
Shinobi-komeru. Hisoka ni. Secretly.
Samisen-ban. Mise no samisen wo _Samisen_ keeper.
adzukaru _shinzo_.
Nanto demo ii nanshi. Nanto demo o ii Say whatever you like
nasai. (I don’t mind).
Chotto mi nē! Miyagaré. Oh! just look at
(hear) him!
Ii ame dakké nē! (The same). What good rain![31]
Akire-kēru yo. Akire-kaeru yo. I am astonished.
Pochi-pochi. Oiran ni A guest loved by a
kawai-garareta courtesan.
hito.
Chaki-chaki. Oiran ni niku-mareta The reverse.
hito.
Ki-fū. Kiita-fū. Pedantic style.
Shiwo-ya. Jiman unubore no A conceited fellow.
Enjirō. hito.
A saying in vogue about the Bunkwa era (1804–1817) was:—You can
distinguish the Ōgi-ya by “_watakushi_” the Tama-ya by “_shitsukata_”
the Chōjiya by “_zansu_” and the Matsuba-ya by “_osu_.” This was
said because of the peculiar dialects, spoken in the respective
houses, changed into _zansu_, _zaisu_, _ossu_, _osu_, _ariisu_, etc.
The _sato-kotoba_ has now entirely disappeared, but as many of the
women come from the Western provinces, in the neighbourhood of Kyōto,
it is common in the Yoshiwara to hear such words as “_anata itsu
kiyaharimasu_” (when will you come?), “_sō dakka_” (is that so?),
“_ahōrashii_” (nonsense!), etc.
Shōgi no okonau juho.
(_Magic charms practised by the Yoshiwara courtesans._)
The Yoshiwara inhabitants are all peculiarly superstitious people and
great believers in omens, consequently they carefully avoid anything
which may be construed as fore-shadowing ill-luck. The word _cha_
(tea) is supposed to be unlucky because it occurs in the phrase _o
cha wo hiku_ (literally “_to pulverize tea_,” but idiomatically it is
applied to women of ill-fame who are unpopular and means “_to be out of
employment_”) therefore it is carefully eschewed not only by courtesans
but by _geisha_ also.[32] The courtesans call “tea” “_agaribana_”
(“going-up-flower”: meaning a guest who is going up the stairs) or
“_yamabuki_” (“yellow rose”) or _Uji_ (the name of a place) because the
liquor of the infused tea is the colour of the _yamubuki_ flower, and
because Uji (near Kyōto) is a noted tea-district. _Geisha_ speak of tea
as “_o-de-bana_” (“august-going-out-flower”) because this expression
conveys the sense of their “going out” and gathering presents (_hana_)
from guests. Sitting on the staircase is looked upon with aversion, as
this is supposed to decrease the number of guests. When a cat, or
a domestic fowl, passes through a room it is immediately caught and
brought back to the direction from whence it came, because the local
folk believe that the toleration of such an event will tend to make
guests go away without stopping at the house. There are a great many
silly superstitions of a similar nature in the Yoshiwara, and charms
of all kinds are extensively practised. Every evening the _bantō_ of
each brothel says a prayer before the “_Engi-dana_” (the shelf of good
luck: this was formerly furnished with emblems of _phallic_ worship), a
bundle of wooden clog-checks (to which a long rope is attached) is held
up and struck several times against the floor of the house, and then an
imitation of a rat’s squeak is made while the _bantō_ strikes a pillar
of the house with his hand. This process is said to be a charm for
attracting many guests. It would require a thick volume to contain a
description of all these charms, therefore only a few of the principal
ones as mentioned in the “_Shōbai Ōrai_” (倡賣往來), written by Jippensha
Ikku, are given here.
_Charm for attracting a person for whom one is waiting_:—It is a most
efficacious method to stick an eel-skewer in the wall and pray for
the advent of the party whose presence is desired.
_Ditto (another method)_:—Fold a piece of paper so as to represent a
frog, write the name of your guest on its back, stick a pin through
it and put the frog where no one can see it: the person desired is
sure to turn up. After his arrival, however, the pin should be
removed and the paper frog thrown into the river.
_Ditto (another method)_:—Cut a sheet of white paper to a size of
2 inches square, fold it in two, place it in a white envelope and
address it to the desired guest. This charm is much in vogue in the
brothels of Kyōmachi though it has not yet spread to Yedo-chō. In
_Masurō_ this charm has been especially successful.
_How to ascertain whether an expected guest will come or
not_:—Draw out a thread from the end of a towel. If this feat be
successfully performed the guest is sure to come, but if the
thread breaks he will not turn up.
_A peculiar charm._ Take one equal part of _saké_, vinegar, soy, oil,
_ohaguro_ (mixture for blackening teeth), water, and a handful of
_tōshin_ (wick of a lamp made from vegetable pith). Boil these seven
ingredients together and add a piece of paper on which is depicted
the private parts of your lover. Boil again for a short time, and
the charm is sure to cure the man’s fickleness.
At present nobody seems to be acquainted with the charms mentioned
above, they have fallen into disuse nowadays.
Below will be found a description of charms now in vogue. These are
most important occult secrets and should not be lightly revealed to the
vulgar!
_To attract a person._ Write the first letter of the name of the
person, together with the date of his birth, on a piece of paper.
Paste this under a staircase on the third step from the bottom, but
do it secretly so that nobody will detect it. If a person misses his
footing and falls from this stairway the charm will certainly be
effective.
_Ditto._ When there is any particular guest whom a courtesan wishes
to call, a letter supposed to be addressed to him should be
prepared, and on the cover should be written the words—“_Kogaruru
kimi ye_.” (To my beloved prince) and “_Go zonji yori_”
(From—you know who). This missive must be dropped at a cross-way,
and if it be picked up by somebody the charm will work.
_Ditto._ Take a sheet of _hanshi_ paper and cut it in the style of
a _noren_ (curtain hung before a shop) and on each leaf write the
Chinese character 狐 (_kitsune_ = “fox”). Stick this on the inside
of a cupboard or drawer so that nobody will know about it, and then
offer up a prayer for the speedy advent of the person for whom you
are waiting. When he arrives you must secretly remove the paper and
throw it away.
_Ditto._ There is a game called _en-musubi_ (marrying) which is
played by making a couple of _koyori_ (soft Japanese paper twisted
into a string) and holding them in the middle while a person ties
both ends together. The _koyori_ are now stretched by pulling, and
if they become entangled in the process the marriage is supposed to
be assured. If you tie the paper strings which have been used
for this purpose to a tobacco pipe-stem, or to the mouth of a
teapot, this will certainly cause the appearance of the party whose
presence you desire.
_Ditto._ Seven paper-strings (_koyori_) are bundled together and held
by the centre, while four of them are fastened at one end in pairs;
the remaining three are also fastened, two with one string. Of the
last two strings, one represents the girl’s lover, and is to be
marked as such. When all these strings are pulled, sometimes none of
them get tangled, but now and then one of the three strings tied
together may entangle itself with the others in a curious fashion.
Taking this as the “boundary” the length of the remaining two
strings should be compared, presuming the one that is marked to be
the man and the other to be the woman. If the male string is longer
it means that the man’s love is deeper, and _vice versa_. When the
paper strings have entangled themselves in an auspicious manner,
such strings should be fastened to the end of the woman’s
_koshi-maki_ (kind of waist-cloth) and they will prove to be an
irresistible charm for attracting men. When the person longed for
finally arrives, this _koyori_ must be secretly removed and thrown
away so as not to be detected by anyone. Should this once be
forgotten, and the woman go to bed with her lover while the strings
are still attached to her waistcloth, the charm will lose its
efficacy in future.
_Ditto._ The woman must concentrate her mind and think of the abode
of her lover (if the street, number, etc. is not clearly known a
hypothesis will suffice), the route to be taken in going there, and
the distance. She must then imagine herself departing from her own
house, and on her way to that of the lover, counting her steps as
she goes. Then she will shortly suppose that she has reached her
destination, that she has met with the man she was seeking, and that
she is urging him to visit her in the evening without fail. After
obtaining his consent she must mentally commence her return journey,
going through the same process as she did on her outward journey.
Of course all this labour of love is mentally performed, so that it
may be done even in the presence of another guest without arousing
the slightest suspicion in the minds of outsiders. This practice of
telepathy is said to be startlingly effective in its results.
_Ditto._ Take a sheet of _hanshi_ paper and from it cut out seven
human figures, all joined together. Then fill in the eyes, noses,
and mouths, but do not complete these in each figure: let some
be without a nose or mouth, or minus one eye, etc. On the abdomen of
the central figure should be written three times the first letter of
the man’s name, and on the remaining six figures it should be
written five times. The central letter on the central figure should
be pierced with a needle in an upward direction, and all the figures
should then be solemnly promised that if the desired party turns up,
their organs shall be completed and that they shall be thrown into a
stream and allowed to float away. The figures should then be pasted
in a place where they will not be detected. In the event of the
person whose presence is desired actually appearing, the organs of
the figures should be completed, and then the paper men should be
thrown either into the moat or the W.C.
_Ditto._ In the small hours of the morning, enter a room which faces
the street and which is not usually occupied by anybody. Shut up the
paper shutters (_shōji_) and place your sandals in the room with the
bottoms upwards. Then pass through the room out into the verandah,
place your hands in the bosom of your dress and shutting your
eyes repeat an old well-known poem three times in succession. If you
then listen very carefully you will hear a human voice which,
speaking in an undertone, will tell you whether “he” will come or
not. This is a very doubtful charm!
_Ditto._ Write on a sheet of _hanshi_ paper the well-known poem:—
“_Konu hito wo Matsuo no ura no yū-nagi ni yakuya moshiwo no mi wo
kogashi-tsutsu_” [this has been translated by Mr. F.V. Dickins (with
a slight verbal alteration) as follows:—
On Matsuo’s shore, our meeting place,
At dusky hour of night, I wait
My longed-for loved one to embrace;
Ah, why linger’st thou so late!
My ardent passion, than the fire
That heats the salt-pans, rages higher.
or “_Waiting for he who comes not with a passion fervent as the heat
which bakes salt_,”] and at the end of the papers—“_Tare sama itsu
made ni kuru yō ni tonomi-age-mairase-sōrō_” (I beg that Mr. _______
will come by ________ (date) ________) as well as the name of the
God or Buddha which you usually worship. Stick this paper on the
wall upside down.
_Charm for attracting guests when “trade” is dull._ Either burn a
large _moxa_ on the bottom of the wooden pillow you generally use,
or tie two pillows securely together with an _obi_ (sash) and fling
them into an unlighted room. The charm is said to be extraordinarily
effective.
_Charm for attracting an unfaithful man._ When you desire to see an
unfaithful man for the purpose of upbraiding him for his
insincerity, first write everything you wish to tell him and pour
out all your wrath upon him in the letter. Then procure a frog,
stick a needle in its back, and putting your letter before the
reptile tell it to take the missive to the addressee, promising that
if it be successful in conveying the letter into the man’s
sleeve-pocket the needle shall be extracted. The frog will assuredly
deliver the letter into the man’s sleeve-pocket, come back, and
immediately die. The faithless one, finding the letter in his
sleeve, will certainly visit you to seek an explanation of the
mystery.
_Charm to send away a guest._ Take a _ko-yori_ (a paper string or
“spill”) and with it form the shape of a dog. Place this on the
wardrobe or mirror-stand in a room next to the one in which the
guest is, making the paper animal face him. Ask the doggie in a
whisper to quickly answer you whether the guest will go away or
stop. It is said that this charm is so extraordinarily efficacious
that a guest who is thinking of taking his departure goes away
forthwith, while one who wishes to stay immediately expresses his
intention of renewing the engagement and prolonging his visit.
_Ditto._ If the end of the underfold of your waistcloth or “petticoat”
(_koshi-maki_) be tied in a knot the guest will leave immediately.
_Ditto._ Wrap up a small quantity of luke-warm ashes in a piece of
paper and place the packet under the night-clothes (bedding) of the
guest near his feet. He will immediately go away.
_Ditto._ Stand a broom on end in the room next to your guest’s room,
and laying out a pair of sandals before it, say in a whisper—“There
now, _do please_ go away quickly.” The guest will leave at once.
_How to know whether “he” is coming or not._ This charm is a somewhat
indelicate and disgusting one, but it runs as follows:—In the small
hours of the morning enter the W.C., carrying a piece of red paper
and a box of matches. Light the paper by means of a match and glance
down into the W.C. pan, and you will see the face of the person
you are thinking about appear mysteriously. If the face is smiling
your relations are at an end, and you must resign yourself to the
situation; but if, on the other hand, it betrays signs of anger,
the man will visit you ere long. When the charm has worked, put out
the light and throw the remains of the paper down the W.C. If
you accidentally drop the burning paper on the face of your ghostly
visitant a scar is said to be left on the face of the real man.
_To ascertain about the health a of man._ Very early in the morning
enter an unoccupied room which contains eight mats. Take a broom
with you, dress it up with clothes as if it were a person, then tie
an _obi_ round its supposed waist, and cover the head with a towel
after the fashion of _hōkamuri_. Now place a letter addressed to
your friend in the bosom of the figure, instructing the dummy to
deliver the missive to the addressee, obtain a reply from him, and
place same in a certain specified drawer. Then stand the dressed-up
broom in a corner of the room against the wall, and without looking
back quit the chamber. Sometimes the broom topples over by itself
without there being a puff of wind to cause the fall. If it falls
down the charm will work, a reply be found in the drawer mentioned,
and you will receive news of the person about whom you wish to know.
(This is an exceedingly doubtful charm.)
_How to read a man’s mind._ While your guest is asleep, crawl secretly
out of bed very early in the morning, and getting a single sandal
from the W.C. get into bed again without awakening the man. If the
guest is sound asleep, rub his chest very gently with this sandal
and at the same time ask him his read mind towards you. He will,
under these conditions, answer, as if in a dream, any question you
may put to him, and thus unbosom all his secrets. When the charm is
completed, you must return the sandal to its original place, and
coming back go to bed again.
_To call in money._ If you have asked a guest for money and failed
to obtain it, dress a broom up with clothes like a human figure,
and standing it upside down complain to it of the non-fulfilment of
promises just as if it were a human being: then knock the figure
down, telling it to bring the money without fail on the following
day. This will cause the man to dream of your indignation at his
breach of promise and he will visit you forthwith, bringing with him
the necessary money.
_To arrest the menstrual flow._ Before retiring at night, float
some _tōshin_ (pith wick of a lamp) or ashes on water and drink the
mixture. This is said to be wonderfully effective in arresting the
courses.
Some Queer Japanese Superstitions.
1. If the ears are ticklish it is a sign of a lucky event about to
happen. In the morning the right ear and in the evening the left
ear tickles.
2. Sneezing denotes:—
Once,—Some person is secretly praising you;
Twice,—Some person is backbiting you;
Thrice,—Some person is in love with you;
Four times,—You have caught a cold.
3. Cramp in the leg is cured by plucking out a straw from the matting
of the room, slightly wetting it with saliva, and rubbing it on the
forehead while repeating the formula—“_Shibire Kyō ye noboré!_”
(Cramp, go up to the Capital!).
4. He who puts parings of human nails, or hair from a human head into
the fire, will go mad.
5. To dislodge a bone which has stuck in the throat, stroke the throat
thrice with any ivory instrument and repeat the formula—“_U no
nodo, u no nodo_” (Cormorant’s throat, cormorant’s throat).
6. To cure a corn on the foot. Previous to mentioning anything about
it to another person rub it thrice with the natural oil which
exudes from the side of the nose.
7. How to tell the sex of a child yet unborn. After obtaining a charm
(for ensuring safe delivery) from the temple of Kwannon (Goddess of
Mercy) at Asakusa, if the paper within the packet is red the child
will be a girl, and, if green, a boy. It is also said that if on
the morning of the first day of the month of parturition a male
visitor arrives the child will be a boy, but, if a female visitor,
a girl.
When the combined ages of a married couple can be divided by three
without leaving a remainder, a girl will be born, but if there is a
remainder a boy will be born.
If the yet unborn child shall have been conceived in one year and
its birth be due in the following year, the ages of the parents
should be added together, one year added to the number resulting,
and then the total should be divided by three.
If a pregnant woman asks her first-born child (whether boy or girl
is a matter of indifference) “_Mame ka adzuki ka?_” (Ordinary bean
or Adzuki bean?) and the child answers “Ordinary bean” a girl will
be born, but if the answer is “Adzuki bean,” then a boy will be
born.
8. If you wear a basket on your head by way of a hat you will become
dwarfed in stature, and if you tread in horse-dung you will become
tall.
9. Dust in the eyes may be removed by closing the eyes and licking the
upper lip for a short time, or by spitting thrice and repeating the
formula “_Gomi, nara dero; suna nara tokero!_” (If dirt go out; if
sand melt!)
10. When you meet a person suffering from opthalmia, and he stares at
you, if you do not stare back you will catch the disease.
11. When you meet a funeral procession you should conceal your thumbs
or else your parents will die.
12. Should a woman wash her hair on the “day of the Horse” (_Uma no
hi_) she will go mad.
13. A person who is not sensitive to tickling is the child of an
illicit lover.
14. If one allows the nail of his little finger to grow, he will not be
forgetful.
15. If one removes the skin excretions (_aka_) from his navel (_heso_)
he will catch cold.
16. Method of curing toothache:—
Place a piece of white paper on the floor, put both your feet upon
it close together, and draw the outline of the feet. You have now a
shape on the paper approximating to a human face. In this draw
eyes, nose, and then draw a representation of a set of teeth in the
mouth. Then paint the representation of the aching tooth quite
black, and the two next teeth slightly black, fold up the paper in
eight folds, drive a nail through the same and then throwing the
paper into a river let it drift away down stream.
[Illustration: Bottom of two adjacent feet.]
17. To cure a corn on one’s foot. Draw upon it three times the
character 鳩 (_hato_ = pigeon) and then thoroughly smudge out the
character. (Perhaps the idea is that the pigeon eats the corn!)
18. If one allows wax to collect in the glands of the ears his memory
will be improved.
19. To cure ringworn (_tamushi_). Draw on the affected part the
character 鴫 (_shigi_ = snipe) or else 南 (_minami_ = south) and
then thoroughly smudge out the writing with black ink. (It is said
that when the character 鴫 (_shigi_ = snipe) is used the idea is
that the snipe will eat up the _tamushi_—ringworm. This arises from
a play upon the words used. _Tamushi_, if divided, becomes _ta
mushi_, and phonetically may mean 田 (_ta_ = a ricefield) + 虫
(_mushi_ = an insect). It is well-known that snipe (_shigi_) devour
the insects (_mushi_) in the rice-fields (_ta_) and thus the
superstition.)
20. If you dream of eating anything you will catch cold the following
day.
21. When a woman has trouble in suckling her child owing to the flow of
milk being scanty, she should draw a picture of a _namadzu_
(cat-fish) on a piece of paper, and stick this paper on a Kōshin-dō
(shrine of the Kōshin). This is a sovereign remedy and will
certainly ensure a full flow of the lacteal fluid.
22. If a woman washes her hair when she has the monthlies, she will die
of a burning fever.
23. To cure the hiccoughs, fill a tea-cup with hot water or tea, and on
the top of the cup place a pair of chopsticks cross-fashion. Then
drink a mouthful from each of the four divisions thus formed, and
after each mouthful be sure not to forget to mention the name of
some bridge. You must however be careful that the word bridge
(_hashi_) appearing in the name is not changed in the combination
by reason of euphony. For instance Same-ga-hashi (Shark’s bridge)
Naka-no-hashi (Middle bridge) O-hashi (Great bridge) Ichi-no-hashi
(First bridge) will do, whereas Nippon-bashi (Japan bridge)
Kyō-bashi (Capital bridge) will not do because the word _hashi_
(bridge) undergoes a phonetic change in the combination.
[Illustration: Circle partitioned into four equal segments.]
24. To cure a wart. Wrap a spider’s web around it, or go to a
grave-yard and apply water from the oldest grave-stone. Another
method is to rub the wart gently with an _adzuki_ bean and then
bury the bean in the earth placing a heavy stone or tile upon it.
If this bean does not germinate and sprout the wart will disappear.
Still another method is to stand by a _sanshō_ (_Xanthoxylon
piperitum_) tree, and to gently stroke the tree, repeating the
formula “_ibo utsuré, ibo utsuré!_” (Wart be transferred, wart be
transferred!). This last method is eminently efficacious.
25. In order to hasten menstruation thread a needle with red thread
and stick it into the wall of the W.C. In order to prolong the
courses, step over three _adzuki_ beans or over the bank-like paths
dividing the fields. To swallow an _adzuki_ bean is also
efficacious.
26. If one places a mushroom on his navel, and keeps it there, he will
not become sea-sick.
27. In case of many persons having had illicit intercourse with a
woman, and it is not certain who is the father of the child, if the
placenta be placed on a lacquered tray and examined it is said that
the father’s crest (armorial bearings) will appear.
28. If one goes to sleep early on the night of the _Kōshin_, a boil
will form on his buttocks.
29. If you shake your legs you will become poor.
30. If you break wind your tongue will turn yellow for a little while.
31. If you cut your nails at night you will be bewitched by a fox.
32. A woman who has curly hair is lecherous.
33. Talk about your own death and you will live to a good old age.
34. If your front teeth are wide apart you will soon be separated from
your parents.
35. If you tell falsehoods your tongue will be plucked out by _Emma_
(the King of Hell).
36. If a person bleeds at the nose or eyes when climbing a high
mountain he is a wicked man.
37. To cure ring-worm rub the effected part with _ame_ (a kind of
syrup made from malt), stick this _ame_ on the branch of an
_e-no-ki_ (_celtis sinensis_) and go straight away without looking
back.
38. To cure a stye (_mono-morai_). If it has grown on the lower eyelid,
you must receive some _nigiri-meshi_ (boiled rice rolled up into a
ball-like shape) from a person in an inferior station in life and
eat the same: the _nigiri-meshi_ must be received from outside of
the window, the giver being inside the room. If the stye be on the
upper lid, the _nigiri-meshi_ must be obtained from a person who is
your social superior.
Or, stroke the affected spot with a _miso_ (bean-sauce) strainer
and reflect half the bottom of the strainer in a well: when a cure
is effected reflect the whole strainer in the well.
Or, rub a comb until it becomes warm by reason of the friction, and
then touch the stye with the same.
39. If you kindle a fire in front of the entrance of your house
(_Kado-guchi_) on the occasion of the _Shōryō-matsuri_ (the
festival celebrated in commemoration of dead relatives on the
7th day of the 7th month—old calendar) and tread on the ashes, your
legs will become strong. If your light your pipe by this fire you
will not suffer from coughs.
40. He who shaves off the hair from his legs will not be able to run
swiftly when he runs away.
41. If a small boil or pimple forms within your nostrils, a child will
be born in the house of some relative.
42. If you glare fiercely at your parents, you will become squint-eyed
(_yabu-nirami to naru_).
43. Strike a person on the chest and you will not survive three years.
44. If you have _te-midzu_ (water for washing the hands) thrown over
you, you will die within three years.
45. If you hang up over a _midzu-game_ (water-jar) a straw snake
(_mugiwara no ja_) such as is purchased by _Fuji-mōde_ (pilgrims to
Fujiyama) on the first day of the sixth month (old calendar), the
inmates of your house will not suffer from fever. If you preserve
the tongue of this straw snake it will be efficacious as a
febrifuge if boiled in water and the resulting liquor swallowed by
a feverish person.
46. If a child has been bruised, and is in pain, if he repeats the
formula—“_Chichin pui-pui, go yō no on takara_” (This cannot be
translated into English) the pain will disappear.
47. If a pregnant woman drinks _saké_ (Japanese rice wine) and eats the
flesh of a sparrow together, the child to which she gives birth
will be lewd and immoral (_impon_).
48. In order to determine the sex of a fœtus, look at the _jijikké_
(soft hair growing on the nape of the neck) of the child born
previously, and if it is bent to the left the child will be a boy
whereas, if to the right, a girl.
49. If a pregnant woman happens to touch her own skin while beholding
a conflagration, the child to which she gives birth will be found
to have maculæ (_aza_) on the corresponding part of its body. If
however she happens to be carrying a mirror in the bosom of her
dress the child will escape being thus marked.
50. Should two pregnant woman live together in the same house, one of
them will either die together with her child, or have a
miscarriage.
51. If a child plays with fire he will urinate the bed.
52. If one spits into the W.C. he will go blind.
53. If you press down a person’s shoulder, your own stature will become
short.
54. If you throw _te-midzu_ (see No. 44) over a person you will have a
child born without hands.
55. If the soles of your feet become ticklish you will become poor.
56. If you urinate on an earth-worm your penis will swell up and become
inflamed, but if you subsequently wash any earthworm with water the
swelling will subside and the inflammation disappear.
57. If you go to sleep with your hand on your breast you will be
disturbed by dreams.
58. If when you have “the hiccoughs” you repeat thrice, without taking
breath, the formula—“_Ebisu sama no omori-mono nusunde Kuiyasen
ka!_ (Haven’t you been stealing and eating the things offered up to
Ebisu Sama?[33]) you will be cured.
59. When many circular and wave-like lines or wrinkles (_udzu no
makitaru shiwa-suji_) appear on the finger-tips, one becomes
skilful at doing everything.
60. If the great toe of a person’s foot is shorter than the next toe,
then he will be more prosperous than his parents.
61. Persons whose eyebrows are close together are short-lived.
62. If you stick a piece of paper, on which is written “_Chinsei
Hachirō Tametomo Kō on yado_” (The sojourning place of Chinsei
Hachirō, Lord Tametomo), on the door of the house, small-pox will
not enter.
63. If you dress a small-pox patient in red garments the attack will
be but slight. The imp of small-pox is pleased with the sight of
red garments and deals gently with the wearers.
64. If you write “_Hisamatsu rusu_” (“Hisamatsu is not at home”) on a
piece of paper, and stick it on the door of the house, you will not
catch “_o some kaze_” (influenza). [The origin of this saying is
that in the good old times there lived two lovers, the man being
named Hisamatsu, and the woman O Some. _Ergo_, when Hisamatsu is
not at home, O Some does not enter the house, whereas if he were in
she would enter to meet him.]
65. If previous to going to bed you repeat the following three times,
you will awake the next morning at any hour you choose:—
_Hono-bono to Gazing upon the beautiful scenery Akashi no ura no of
the coast of Akashi, and faintly seeing Asa-gari ni the fishing
boats going out to fish Shima-kakure-yuku in the grey light of the
dawn, I feel a Fune wo shiso omou_[34] sense of regret when the
white sails of the tiny crafts disappear from sight behind the
islands in the distance.
[This poem was composed by Hitomaro, one of the _Sanjū-rok-ka-sen_
or thirty-six famous poets of Japan.]
66. When a white spot forms on the finger-nails, one’s stock of clothes
will increase.
67. If you are guilty of unfilial conduct you will get a _sasakure_
(hang-nail.)
68. If a stye has formed on your eyelid, go to the house of another
person and ask for food. Eat the food given you and the stye will
disappear.
69. If a child he conceived on the night of the _Kōshin_, he will turn
out a robber. [“_Kōshin is a deification of that day of the month
which corresponds to the 57th term of the Chinese sexagesimal
circle._” _Murray’s Hand-Book for Japan_.]
70. When you are suffering from _kusa_ (a kind of cutaneous eruption),
draw the character 馬 (_uma_ = horse) upon the affected spot and it
will then heal up.
71. If you desire not to beget any more children, when you name your
last child you should introduce the character 留 (_tomé_ = to stop;
to stay) or 極 (_kiwa_ = to come to an end; a limit). This method
is most efficacious.
72. To protect a child from having convulsions. Hang up together to the
ceiling (1) a toy basket, (2) a toy umbrella, (3) a _papier maché_
dog (_inu-hariko_), all of which things must have been purchased in
the _naka-mise_ (the row of shops leading up to the gate of Kwannon
Sama) at Asakusa.
73. To protect a child from whooping-cough (_hyaku-nichi-zeki_), Take a
piece of white cotton (_shiro-momen_) one _shaku_ (15 inches)
square, and wrapping therein one _gō_ (1.2706 gills) of salt, tie
the whole up with red silk thread and then hang the package up to
the ceiling of the _doma_ (the small unfloored court at the
entrance of Japanese houses.)
74. To protect a child from _natsu-boshi_ (a kind of prickly heat).
Place one of the first fruits of the egg-plant (_hatsunari no
nasu_) in a tea-bag and suspend from the ceiling.
75. If a woman sweeps and cleans out the W.C. her labour will be easy
in child-birth.
76. When a person finds that his children die and that he cannot rear
them, it is a good plan to abandon the next child born, watch until
some person picks it up, and then reclaim it. This will ensure the
child’s subsequent health and it will grow up safely. It is also a
good plan to use the character 捨 (_suteru_ = to throw away) when
composing the child’s name, or else to call him “Aguri.” If one
constructs a _tōba_ out of the wood of a _keyaki_ (_Zelkowa
acuminata_) tree, using it upside down so that the grain points
downwards, and erects it by the grave of the last child who died,
children born subsequently will grow up safely. [As _tōba_, or
_sotōba_, is a long, narrow, and thin wooden table on which is
inscribed Sanskrit characters quoted from the Buddhist sacred
books, this term is derived from the Sanskrit word “stupa” = “a
mound.”]
77. If an infant not yet weaned has two lines on the back of the thigh
between the buttocks and the knee, the next child born will be a
girl. If only one line be visible the next child will be a boy.
78. An old saying runs—“Don’t cut your nails on the day of the Hare
(U), Swine (I), Serpent (Mi), or Goat (Hitsuji), or the tears on
your sleeves will never dry up,” (Japanese use their long flowing
sleeves in wiping their tears away) and in consequence of this
maxim, people do not like to cut their nails on those days: they
also dislike to cut their nails at night (_yo-dzume_), or when
about to go out (_de-dzume_).
79. If on the day of the Dog (_inu no hi_) a pregnant women makes an
_iwata-obi_ (the bandage worn by pregnant women after the 5th month
until confinement), her delivery will be painless.
80. If you stumble and fall down in a graveyard you will die within
three years, and if you are wounded the scar will not heal up.
81. If you fall down at San-nen-saka (three years hill) in
San-nen-machi (three years town) in Kōjimachi district, you will
not live three years.
82. To cure toothache. Wrap a piece of paper round the top of one of
the piles of the sluice near Same-ga-hashi in Yotsuya district, and
then tie it on with _midzu-hiki_ (a line paper cord used for tying
up presents.)
83. If you wash your face with too hot water wrinkles will appear very
soon. It you hang up a wet towel on a rack without smoothing it
out, your face will soon become wrinkled.
84. If you pull out one of the soft hairs on the back of the neck
(_jijikké_) this will stop bleeding of the nose.
85. If you do not put out fire with your foot you will never have a
calamity or loss by fire.
86. If you bury pen and ink (_fude-sumi_) with the placenta (_ena_) the
child will become a skilful penman, and if a fan be buried also,
the child will rise in the world.
87. If you allow your nails to grow too long you will catch cold.
88. The child always dislikes (has an aversion towards) the particular
insect that first passed over the place where the placenta (_ena_)
was buried. (If the first insect to crawl across was a caterpillar,
the child will always feel a creeping horror when he sees one in
after years).
89. If you sit down on a seat which has just been vacated by a person,
you will fall out and quarrel with him unless you tap the seat
thrice before sitting down.
90. If a man and woman visit the shrine of Benten Sama (in Enoshima)
together, their connection will be severed.
91. Fan the palms of your hands and your whole body will become cool.
92. If after giving birth to a child the stomach is aching obstinately,
burn an old tea-bag and eat the ashes. This will cure the pain.
93. If you dream of being cut down (wounded) by a person, it is a sign
that you are going to make money.
94. To prevent the spread of infection in case of fever, wrap up some
horse-dung in a piece of paper and place the package under the
mattress on which the patient is lying.
95. If the palms of the hands itch you will receive money; if the backs
of the hands itch you will disburse money. When the sole of the
foot itches, go straight home and scratch it and you will certainly
escape the impending evil.
96. If you have contracted _hayari-me_ (epidemic opthalmia), you
can cure the disease by the following method. Get a _tsukegi_
(old-fashioned sulphur match), write on it “_Yamme ō-yasu-uri_”
(Diseased eyes for sale cheap), and throw it away, together with 10
_Mon sen_ (1 _sen_ present coinage), at a place where cross-roads
meet.
97. If you suffer from earache (_kara-mimi_) you can cure yourself by
applying water to the ear from the oldest grave you can find.
98. To care ague (_okori_). Write down the patient’s name and age on a
piece of paper and throw the same into the river from Jinnoi-bashi
at Fuku-tomi-chō in Asakusa district.
Yoshiwara “Pot-pourri.”
The following items are given in the “_Yoshiwara Ō-kaga-mi_” (吉原大鑑 =
The Great Mirror of the Yoshiwara) under the heading of “_Sho-yaku
Hyaku-monogatari_” (諸譯百もの語 One Hundred Miscellaneous Tales).
_Things which are long_: _The Nihon-dzutsumi_; a dispute between
lovers; the _magaki_ song at night; the night to a guest who has been
jilted by a _yūjo_.
_Things that are short_: Night of a lovers’ meeting; the first letter
from a _yūjo_ to a strange guest.
_Things one would like to see_: The Diary of a _yūjo_; sincerity in a
prostitute; a square egg; the false letters of a _jōro_, and the end
of a heartless courtesan.
_Things one would like to hear_: The name of a _yūjo’s_ secret lover;
the whispers of a courtesan.
_Things that are funny_: Apologies of a guest who has offended a
_yūjo_; a guest who bestows too much attention on a _kamuro_ (young
female page).
_Things that are enjoyable_: A long sojourn of an intimate guest at a
brothel; secret lover; love-quarrels between sweethearts.
_Hurried things_: A _saké_ cup that is not offered to a guest by
the courtesan of his choice on the occasion of their first meeting;
feigned sleep on the morning of the guest’s departure; conversation
about one’s acquaintances; the crest on the clothes of a courtesan
made by a rival guest.
_Pleasant things._ Spiritedness of a courtesan; a sprightly _joro_.
_Quiet things._ The possession of a courtesan’s room at the first
meeting; a _tayū_ who has come down to be a _kōshi-jōro_.
_A clever thing._ A demand for gratuities by means of broad hints.
_Clumsy things._ Squandering too much money in a tea-house; going into
a _sancha_ restaurant in the rain; demand by an unpopular courtesan to
be engaged on a holiday.
_Things for which one is sorry._ A fire on the night of a lovers’
meeting; for a courtesan to unknowingly receive counterfeit money from
a guest as a present.
_Comfortable things._ A snowfall on the night when one stays in a
brothel; a hood that is put on the head from behind.
_Offensive things._ The night-sweat of a _jōro_; warming the bowl of a
tobacco pipe by a woman before the guest is well acquainted with her;
the coarse skin of a guest; the relative one meets on his way to the
Yoshiwara; a guest who doesn’t clean his teeth.
_Things which are soiled._ The nostrils of a guest; the tobacco-box of
a slovenly courtesan.
_Laughable things._ A party of _jōro_ all of whom have their collars
covered with paper to prevent soiling their clothes; sudden showers
of rain which drench sightseers in the Yoshiwara; demand for a
night-garment by an unpopular _jōro_.
_An unsightly object._ The day-time slumber of a _jōro_ with her mouth
wide open.
_Annoying things._ Frequent visits of other _jōro_ to the room where
their comrade’s guest is staying; whispering in the ear of a guest by
a courtesan at their first meeting.
_Cruel things._ Expiry of the term of engagement of an unpopular
_jōro_; corporal punishment of a _kamuro_ by her _ane-jōro_.
_Detestable things._ The physiognomy of a _yarite_; talk about rude
things by a prostitute; the indiscretion of a _gyū_.
_A hopeful thing._ A woman who redeems herself.
_Foolish things._ Respectable _samurai_ who visit the Yoshiwara;
elderly visitors to the Yoshiwara; a drunkard who cannot control
himself.
_Contemptible things._ A guest who keeps away from a brothel when
accounts have to be settled; one candle for a company of three
persons; a _jōro_ who slavishly obeys a _yarite_; a lantern which is
used for two rooms conjointly.
_Things for which one waits impatiently._ An agreement to wait until
the expiry of the term of a _jōro’s_ engagement; bed-time on the
occasion of a first meeting.
_Apparently reliable things._ The address of a _jōro’s_ parents as
told to her guest; the infant name of a _jōro_.
_Unreliable things._ The tears of a _jōro_ when she inflicts a curtain
lecture on her guest.
Dai-ya no koto.
(_Cook-houses of the Yoshiwara._)
In former days the present “_Dai-ya_” (cook-houses) were called
“_Ki-no-ji-ya_” owing to the fact that a man named Oda-wara-ya Ki-ue
first established such houses. Originally only the smaller brothels
were supplied with food from these _dai-ya_, but now-a-days all
the brothels, irrespective of size or grade, draw their foodsupply
from the cook-houses. These _dai-ya_ supply every conceivable kind
of food, be it _sushi_ (a fish and rice roll), _kwashi_ (cakes),
_soba_ (buck-wheat macaroni), _midzu-gwashi_ (fruit), or what not;
and according to the quantity of food, dishes are divided into three
classes, viz:—_Nami-dai_ (ordinary dish), _Dai-shō_ (medium-sized
dish), and _Ō-dai_ (a large-sized dish). These sizes are charged out at
25 _sen_, 37-1⁄2 _sen_, and 50 _sen_ respectively, but the _dai-ya_ are
said to supply brothels at one third of the above prices, and if that
be so then the latter earn a profit of two-thirds of the selling price
to guests! The _rule_ is to make a prompt cash payment on delivery of
food, but as a matter of fact a wooden ticket, bearing the sign of
each brothel, is given in exchange for _dai-no-mono_ (food brought
in) every time it is brought in, and payment is made the following
day. It is stated by “those who know” that there are some brothels
which have a debt of several hundred _Yen_ to the _dai-ya_. There
are a great many _dai-ya_ in the Yoshiwara, but those which usually
supply first-class brothels are “_Koi-matsu_” of Ageya-chō Ni-chō-me;
“_Yao-kyū_” of the same street; and “_Matsu-no_” of Sumi-chō. In
counting the number of _dai-no-mono_, the auxiliary numeral “_mai_”
is used: thus “_nami-sammai_” (ordinary three flat things) means
three ordinary dishes of food. This is generally abbreviated to
simply—“_nami san_” (ordinary three) etc., and the auxiliary numeral
eliminated. An ordinary dish, with a bottle of _saké_ thrown in, is
known as “_ichi-mai ippon_” [one (dish) and one bottle.] Sometimes a
guest orders food merely for the good of the house, and under these
circumstances will be asked:—“What will you take?” He will no doubt
reply:—“_Nan demo ii yo_” (“Anything will do”) and so the cook-house
is instructed to send in a _demo-dai_ (a dish of “anything”: _demo_ is
a contraction of _nan demo_ = “anything”) which means that there is no
particular choice on the part of the customer.
By the way, there is, in the “_Shōbai Ōrai_” (倡賣往來) by Ikku, an item
which shows a bill of fare in a _dai-ya_ a hundred years ago. It is as
follows:—“The bill of fare of the “_Ki-no-ji-ya_” consisted of:—
_Kimpira-gobō_. Chopped burdock-root fried in _goma_ oil.
_Teri-gomamé_. Dried young sardines roasted and boiled
in sugar and soy.
_Aramé_. Arame sea-weed (_Capea elongata_.)
_Aburage_. Bean-curd fried in oil.
_Ko-zakana nitsuke_. Small fishes, boiled.
_San-kai_. Various fishes and birds.
_Suzuri-buta_. A nest of boxes containing sundry foods.
_Tamago_. Eggs.
_Kuwai_. “Arrow-heads.”
_Kama-boko_. The flesh of fish hashed; seasoned with
a little _saké_ and salt, rolled around
a stick and baked.
_Kawa-také_. River-mushroom.
_Tsuke-warabi_. Salted fern-shoots.
_Hachi-zakana_. Fish served in dishes.
_Karei_. Sole-fish.
_Nibitashi shin-shōga_. Fresh ginger-roots (boiled.)
_Domburi_. A porcelain bowl containing food.
_Fuki_. _Petasites japonicus_.
_Yaki-dōfu_. Roasted bean-curd.
_Su-gobō_. Root of the burdock in vinegar.
_Udo_. Japanese asparagus (_Aralia cordata_.)
_Renkon_. Lotus roots.
_Ika_. Cuttle-fish.
_Nishi-sazai-kinome-age_. Conch flavoured with the young leaves
of the _sanshō_ plant.
_Suimono_. Soup.
_Musubi-gisu_. _Sayori_ fish tied in a knot.
_Hamaguri_. Clams and vegetables.
_Senyō_. A kind of soup.
_Umani_. Any food cooked in a mixture of soy,
_mirin_, sugar, and the shavings of
dried bonito.
_Taimen_. Food made of vermicelli mixed with the
minced flesh of the _tai_ cooked.
_Ankake_. A kind of soup, containing _tōfu_ or
arrowroot.
etc., all of which foods are suitable for those persons who stop in
brothels for several consecutive days.
Famous Things of the Yoshiwara
ALSO
Peddlers, Hawkers, and Beggars.
_Takemura no sembei_. Rice and flour cracknels of Takemura.
_Sanya-tōfu_. Bean-curd of Sanya.
_Kobu-maki_. Rolled seaweed.
_Shiso-maki_. Rolled _shiso_ leaf.
_Tsuke-na_. Pickled greens.
_Ni-mame_. Boiled beans.
_Nameshi_. Green rice.
_Maku-no-uchi_. Boiled rice balls.
_Dengaku_. _Tōfu_ baked and covered with sweetened
_miso_.
_Mugi-meshi_. Boiled wheat.
_Aoyagi-sushi_. _Sushi_ of Aoyagi.
_Kanro-bai_. “_Kanro_” plum.
_Hakuro_. “_Hakuro_” sweet-cake.
_O-kagura_. “_O-kagura_” buckwheat.
_Kabasho-dango_. Rice dumplings of Kabasho.
_Shinowara-dango_. Rice dumplings of Shinowara.
These things were very popular (even outside the Yoshiwara) from
the An-ei (1772–1780) to Bunsei (1818–1829) eras, and the “_Dote no
kin-tsuba_” (a cake made in the shape of the guard on a sword-hilt),
was well known even after the Restoration. There is still one store
which deals in this time-honoured cake, and it is as popular as ever.
The _meibutsu_ (famous things) at present are the following:—The
cuisine of the Kaneko restaurant; the _kama-meshi_ (iron-pot-rice) of
Horikawa; the _tempura_ (fried fish) of Hamada; the _kabayaki_ (roasted
eels) of Ōtsune; _Matsumo-zushi_; _shiruko_ (rice-cakes with a sauce
of red beans and sugar) of Takaoka; _Ki-no-ine-meshi_ (rice boiled
with soy); _kwashi_ (cakes and confectionery) of Futaba-ya; the _saké_
of Okuda; the photographs of Katō; the bath-houses of Ageya-chō and
Kyōmachi; the patent medicines of Nakane and Konishi; the _ezōshi_
(coloured pictures) of Sanuki-ya; the _komamono_ (fancy goods) of
Nori-ya; the _zōri_ (sandals) of Hishi-ya; etc.
Above all, the cooking of Kaneko is well known, and greatly esteemed,
not only in the Yoshiwara but even outside the quarter as well. The
construction and decoration of every room has been carried out in
exquisite taste, and the furniture of the house is at once rare and
costly: moreover, there is a fine bath-room in the restaurant, and, as
everything is thus arranged comfortably for guests, many visitors to
the Yoshiwara patronize the “Kaneko,” and go there accompanied by the
_yūjo_ they have chosen as their companions.
In the streets are to be found vendors of rice-dumplings
(_dango_), boiled red-beans (_ude-adzuki_), fruit (_midzu-gashi_),
_oden_ (a kind of dumpling), _saké_ (rice-wine); _sushi_ (rice-cakes
plastered over with fish or sea-weed on which vinegar has been
sprinkled) etc., and crowds of miscellaneous hawkers and quacks,
including _tsuji-ura_ sellers (_tsuji-ura_ are small pieces of paper
on which are printed poems or mottoes: these are wrapped in cracknels
made of rice (_sembei_) or put among parched-peas as a pastime),
newspaper sellers, fortune-tellers (_uranai-sha_), _nattō-sellers_
(_nattō_ is a kind of food made from boiled beans), sellers of the
_tōfu_ (bean curd) of Komatsu-bashi, sellers of _fūki-mame_ (cooked and
sweetened beans), blind shampooers (_amma_) female hairdressers (_onna
kami-yui_), washermen (_sentaku-ya_) messengers, etc. Then there are
_shinnai-bushi_ singers (_shinnai-bushi_ is a style of popular song
originated by a man named Tsuruga Shinnai), _Kapporé_-dancers, singers
of _hayari-uta_ (popular songs), _ahodara-kyō_ (reciters of comic
imitation of Buddhist sacred writings and prayers), and flute-players
(_shaku-hachi_). Beggars swarm in front of the smaller brothels early
in the morning and ransack the remnants of food left over by guests
from the previous evening: the sight of these hordes of dirty unkempt
beings, clawing at and hungrily devouring the broken victuals, is a
sight at once sad and disgusting.
The Examination of Licensed Women at the Hospital for
Venereal Complaints.
In September 1867, a hospital for the treatment of venereal diseases
of prostitutes was established in Yokohama for the first time in
the history of Japan, and subsequently similar institutions were
established at Kōbe and Nagasaki. This measure was adopted by
the _Bakufu_ Government owing to the representations made by an
Englishman—Dr. Newton, R. N.—who, in spite of much opposition from
prejudice and ignorance, succeeded in converting the authorities to
his views after a long struggle. At first the physical examination
of prostitutes was limited to the three ports of Yokohama, Kōbe, and
Nagasaki, but in September 1871 the measure was applied to the women
at Senju. The vital importance and value of such inspection not being
understood by the public at large, the courtesans regarded the system
with strong aversion, and they accordingly began to remove away from
Senju to other quarters which were as yet free from the objectionable
measure. This anti-inspection movement so seriously interfered with
their business that the brothel-keepers were eventually forced to apply
to the authorities to suspend the system, with the result that it was
abolished in April 1872. In June 1873, however, the Tōkyō Municipal
authorities again established physical examination offices, one being
opened in each of the following six places:—Yoshiwara, Nedzu, Senju,
Shinjiku, Shinagawa, and Itabashi. Examinations were made several times
a month, and women who were found suffering from venereal diseases
were sent to the hospital at Atagoshita for treatment. This was the
first instance of a Lock hospital in Tōkyō, but since then similar
institutions have sprung into existence in different parts of the
country.
In October 1888, physical examination places were established in the
Yoshiwara and five other _yūkwaku_ by the authorities, but in July 1889
these were abolished, and the brothel-keepers were ordered to fit up
a hospital at their own expense: since that time the Lock hospital in
every prostitute quarter has been maintained by the parties locally
interested.
In the “Regulations of the Lock hospital of the Shin-Yoshiwara,” which
obtained official sanction in June 1889, we find the following:—
“This hospital shall be known as the “_Kubai-in_” (Hospital for
stamping out syphilis) and shall be established on the ground allotted
for the purpose of providing against fire.
This hospital shall be devoted mainly to the treatment of prostitutes
who are suffering from venereal diseases, and shall be conducted on
the system pursued in the former Police Lock hospital.
There shall be a separate ward in the hospital in which prostitutes
who are suffering from diseases other than syphilis may be treated.
The hospital shall have one chief physician and five assistant
physicians, one chief pharmaceutist and two assistant pharmaceutists,
four officials to attend to miscellaneous duties, two clerks, and ten
female nurses.
The director and sub-director of the brothels shall supervise the
monetary affairs of the hospital, and the appointment and dismissal of
the chief surgeon and the members of the staff of the hospital shall
be subject to the approval of the Metropolitan Police Board.
As to the mode of maintenance, and financial arrangements, etc., of
the hospital, these matters are provided for in a separate set of
regulations.”
[The rules relative to various details such as govern admissions,
wards, etc., are omitted.]
The above extract will furnish some idea of the working of a
Lock hospital, and as to the question of maintenance the following
particulars may be interesting.
Buildings, furniture, and surgical instruments 15,000
(This was defrayed from the reserve fund of the
brothels).
Working expenses per month 969
This is met as follows:—
By levying a contribution of 1 sen per diem on
each prostitute and reckoning the number of women
as 2150. 645
By charges made to patients of 9 sen each with
an average of 120 patients per diem. 324
Generally speaking, the hospital is maintained in this manner, but
when there is a deficit in its revenue this is made good by an
appropriation from the reserve fund of the brothels (_kashi-zashiki no
tsumi-tatekin_.)
As the number of prostitutes in the Yoshiwara is about three thousand
women their physical examination cannot be effected in a single day;
the quarter therefore is divided into districts to facilitate the
process of inspection.
The regular examination days, and the inspection districts, are as
follows:—
Monday: Kyō-machi It-chō-me;
Tuesday: Kyō-machi Ni-chō-me, and Sumi-chō;
Wednesday: Ageya-chō, and Yedō-chō It-chō-me;
Thursday: Yedo-chō Ni-chō-me.
Of course special examinations are made when necessity arises.
According to the latest investigations, the result of examinations
showed the average rate of infected persons to be over 6 per cent. The
annexed figures for 1897 may prove interesting, but it must be borne in
mind that they can only be considered as comparatively reliable. The
results of examinations of course depend very much upon the strictness
of the doctors in attendance, consequently every prostitute
quarter varies in its stated percentage of infected cases. In 1898 the
percentage of disease rose to as high as 5.58 average as against 4.73
average in 1897. This difference has been caused by the more thorough
inspection instituted by the present surgeon in charge—Mr. Doi.[35]
Results of Medical Inspection.
1897.
==========+==============+=============+===============+=============
Month. | Number of | Number of | Proportion | Number of
| inspections. | infected | per 100. | guests
| | cases. | | entertained.
----------+--------------+-------------+---------------+-------------
January | 9,515 | 340 | 3.573 | 135,356
February | 9,383 | 372 | 3.965 | 98,981
March | 11,137 | 381 | 3.421 | 107,842
April | 9,879 | 476 | 4.816 | 130,524
May | 9,956 | 425 | 4.278 | 109,769
June | 11,062 | 466 | 4.212 | 99,398
July | 10,066 | 597 | 5.930 | 106,527
August | 10,656 | 618 | 5.799 | 99,441
September | 10,648 | 611 | 5.738 | 100,870
October | 9,651 | 506 | 5.242 | 115,961
November | 10,792 | 613 | 5.679 | 119,403
December | 11,065 | 456 | 4.121 | 101,596
----------+--------------+-------------+---------------+-------------
Total | 123,810 | 5861 | 4.733 | 1,335,668
==========+==============+=============+===============+=============
There were about 2900 to 3000 women in the Shin-Yoshiwara, and
therefore each _yūjo_ must have entertained, on the average, between
415 to 460 guests during the year.
Mu-sen Yū-kyō.
(_Going on a “Spree” without having any money to pay for it._)
[Illustration: _Ebisu_ (The God of Wealth).]
_Mu-sen yū-kyō_, or going on a gay frolic without being possessed of
the necessary means, is locally known in the Yoshiwara as “_Ebisu-kō_”
or _Hōritsu_ (“Law”). The former term has been brought into use because
the majority of those who intentionally go “on the spree” without money
attire themselves in the garb of wealthy people and so resemble the
God of Wealth (_Ebisu_), who is much _en evidence_ at the festival of
“Ebisukō” (in honor of the God of Wealth), although in reality they
haven’t a “red cent” (_bita-ichi-mon_) with which to bless themselves
when the time for squaring up accounts comes. The latter term has
been coined owing to the fact that a large number of law (_hōritsu_)
students have been guilty of swindling, but they generally contrive to
evade their liabilities by means of ingenious arguments and managing
to force their victims into committing technically illegal acts of
which they take mean advantage and which they use as a weapon against
creditors. As a matter of fact, the brothel-keepers sometimes find it
impossible to appeal to the police, and are often forced to “grin and
bear” their losses in silence owing to the “cuteness” and sophistry of
the “_hōritsu_.” It is not uncommon for men belonging to the _shokunin_
(artisan) class to enter a brothel under the influence of liquor
without consulting the state of their purses, and consequently
to find themselves confronted next morning with a long bill which
they cannot settle. These fellows are taken in hand by professional
“fixers” (_shimatsuya_ = one who “fixes up” and settles matters)
called “_uma-ya_” (horse-houses) who undertake to collect the bill on
commission. The “fixers,” or “_uma-ya_,” send a messenger, known as an
“_uma_” (horse), home with such defaulting guest, and this “_uma_” will
dog the footsteps of the debtor until the latter pays his bill. Cases
have however been known where the guest conducted a “horse” (_uma_) to
a certain house, which he pretended was his own, entered on the pretext
of obtaining some money, and walking through quietly, slid out of the
back-door and escaped. But even when a guest temporarily escapes in
this way, he is generally detected, and then, if he can’t pay, the
“_uma_” levy a squeeze of 50 _sen_ per day on their victims.
[Illustration: (_Daruma_.)]
The “_Ebisu-kō_” plan of having a “good time” gratuitously is made a
kind of profession of by some rascals, and it is said that in Tōkyō
there are several societies or bands (_kumi_ or _gumi_) of expert
swindlers in this line. Thus there are the Hongo-gumi, Kanda-gumi,
Shitaya-gumi, Shiba-gumi, Fukagawa-gumi, etc., each _kumi_ taking its
name from the district to which it belongs. There is also a special
_kumi_ called “_Daruma-gumi_,” because its members have the figure
of Daruma tatooed on their forearms, and carry on their fraudulent
operations in a delightfully free and easy manner. The figure of
Daruma is supposed to represent the celebrated prince and priest
of Southern India—Dahma. This holy patriarch sat for nine years in
profound abstraction till his legs fell off, therefore he is described
in Japanese as “_o ashi no nai_” (“being without any august legs”) but
this, by a pun on the words, can be understood as “being without any
august cash.” Considering that the members of this “_Daruma-gumi_”
never pay for anything, the “trade-mark” they have adopted is certainly
very appropriate! Among the members of these beautiful societies, the
act of evading payment of bills is known as “_Kipparai_” (_Kipparau_
= to cut right through an obstruction) or “_Nakaseru_” (“to cause to
weep”).
Yoshiwara-gayoi no Jinrikisha.
(_The jinrikisha traffic of the Yoshiwara._)
The use of _tsuji-kago_ (palanquin) by the general public was permitted
from the Genroku era (1688–1703), but the number of these conveyances
in Yedo was limited to one hundred only! People, therefore, were in the
habit of visiting the Yoshiwara on horseback. [The name of a street
in the Yoshiwara—Uma-michi (Horse-street)—testifies to the fact that
horses used to pass to and from the quarter.] Later on the palanquin
traffic increased, but with the appearance of the Meiji (present)
period, _kago_ dropped out of fashion.
The _jinrikisha_-men who ply between the Yoshiwara and Uma-michi are
called among themselves “_yonashi_” (an abbreviation of _yonabe-shi_ =
night-workers), owing to the fact that they sleep during the day-time
and go to work at night. The best known _jinrikisha_ houses (“_Ban_”
番) in the neighbourhood of the Yoshiwara are called:—“Tatsu-shin,”
“Hage-gumi,” “Honchō-ban,” “Dote-gumi,” “Misawa,” etc. The men
belonging to these houses come out to pick up fares about dusk, and
fortified with a “helmet of _saké_” chase after any likely pedestrian,
accosting him with the words:—“_Danna, naka madé ikaga desu?_”
(“Master, how would you like to go as far as the Yoshiwara?”). At first
these knights of the _jinrikisha_ demand an exorbitant fare, but reduce
the same, after some haggling on the part of the would-be riders, to
about 15 _sen_ per _ri_. As soon as the man has settled terms, he will
probably exclaim “_oi kita! hora yo!_” (almost untranslatable) and
picking up the shafts of the vehicle start off as fast as his
legs can carry him, brandishing his lantern (they call it a “_kamban_”
among the jinrikisha fraternity) as he speeds along. A coolie who
aims to secure a tip will probably ask his customer “_Danna, dochira
ye tsukemasu?_” (“Master, to which house shall I take you?”) and if
the reply is “_Nani, ō-mon de yoroshii_” (“Oh, just put me down at
the great gate”) the rider is probably only bent on a stroll through
the Yoshiwara for the purpose of sight-seeing. If, on the contrary, a
fare replies “_Emon-zaka de orosé_” (“Put me down at Emon-zaka”), he is
generally a cowardly fellow who is desirous of protecting himself from
the _jinrikisha_-puller’s demand for additional payment by means of the
close vicinity of the police-box on the hill.
[Illustration: _Jinrikisha_ (“_Kuruma_”) with puller and pusher
(_atōshi_).]
When two _kuruma-ya_ are employed—one as an _atōshi_ (pusher) or
_tsunappiki_ (extra puller in front)—three times the single fare is
usually demanded because one of the men must return without a vehicle,
and cannot therefore pick up a fare on his way back. The _atōshi_ or
_tsunappiki_ has to waste his time in going home, whereas the man who
has his _jinrikisha_ with him can generally earn something by
picking up a fare on his return journey.
When a _jinrikisha_-man has brought a guest to a brothel or tea-house
he is usually given a tip of from 20 to 30 _sen_, which is paid by the
house and afterwards charged to the guest. There is also a body of
_jinrikisha_-coolies known as “_mōrō-shafu_” (“shady” _jinrikisha_-men)
who are invariably very bad characters. Sometimes these rascals have an
arrangement with certain of the lower-class brothels (_bori-ya_=greedy
and covetous houses) to inveigle country-folk into their dens and thus
make improper gains. Among the _mōrō-shafu_ there have been desperate
scoundrels who even dared to go the length of taking fares to lonely
places and there robbing them of valuables and money after the fashion
of highwaymen, but, owing to the stringent police system, as well as
the control exercised by the jinrikisha-men’s guild, these evils have
been greatly diminished. As regards the slang used by the Yoshiwara
_jinrikisha_ coolies, there seems to be but little difference between
it and that employed by outside _jinrikisha_-men.
[Illustration: _Jinrikisha_ (“_Kuruma_”) with puller and
“_tsunappiki_.”]
Their method of counting is as follows:—
Yoshiwara Slang. Ordinary Japanese. Meaning.
_Oji_ _Is-sen_ 1 sen.
_Jiba_ _Ni sen_ 2 “
_Yami_ _San sen_ 3 “
_Dari_ _Shi sen_ 4 “
_Genko_ _Go sen_ 5 “
_Ronji_ _Roku sen_ 6 “
_Seinan_ _Shichi sen_ 7 “
_Bando_ _Has-sen_ 8 “
_Kiwa_ _Ku sen_ 9 “
_Dote_ _Jis-sen_ 10 “
_Furikan_ _Ni-jis-sen_ 20 “
_Yari_ _Ni-jū-go-sen_ 25 “
_Furi_ or “_Hansuke_” _Go-jis-sen_ 50 “
_Ō-yari_ or _Ensuke_ _Ichi yen_ or _Ichi mai_ 1 yen.
Other slang words abound, but we have not space enough to give more
than a few examples:—
_Yaka_. Being in a hurry (_Isogu koto_.)
_Yanagi_. Not being in a hurry (_Isoganai-koto_.)
_Kaidashi_. This word is used to express the idea of a
_jinrikisha_-man taking a fare to a certain place at a very cheap rate
with the object of securing a better fare on his return journey.
_Aibako_. (_Ni-nin-nori no kuruma_) A jinrikisha to seat two fares.
_Monde-yuku_. The act of changing half-way when two _jinrikisha_ are
being pulled in company and one contains two people and the other only
one person.
_Terashi_. (_Rōsoka_) A candle.
There is a funny story told relative to the introduction of
jinrikishas, and the consequent falling into desuetude of palanquins.
A certain guest asked his “lady friend” in a brothel if she could
tell him what sign was most used on the lanterns of _jinrikisha_-men:
she promptly replied “_Yamagata ni ka no ji ga ō gozaimasu_” (“Mostly
the shape of a mountain Ʌ with the _katakana_ syllable “_ka_”—カ—”).
She was thinking of the signs used to denote the different classes of
prostitutes (_vide_ page 123) and mistook the characters 人力 (_jinriki_)
for the sign [SYM_14] and the syllable カ. It appears that in those
early days the names of districts or guilds were not painted on the
lanterns, but merely the two characters 人力 (_jinriki_), and hence the
comical error!
Sanya-uma da-chin-dzuké.
(_The cost of hiring horses to and from the Yoshiwara._)
The “_Kinsei Kisekikō_” (新世奇跡考) says that in the olden days young
bloods who frequented the Yoshiwara used to travel to and fro on
horse-back. It was also a fashion of the period to consider everything
white to be tasteful. Thus the craze went so far that people fancied
white horses, white sword-hilts, white leather _hakama_ (loose
pantaloons), white sleeves, and white everything else. In a book called
the “_Ko-uta Sō-makuri_” (小唄總まくり)—published in the second year of the
Kwambun (1661–1372) era—the following scale of charges for horse-hire
is given:—
[Illustration: The “_Sanya-uma_.”]
[Illustration: Guests going to the Yoshiwara (_From an old print._)]
From Nihon-bashi to the gate of the
Yoshiwara. Ordinary charge. 200 _mon_ (20 _sen_)
_Ditto_, with a caparisoned white
horse, and two footmen singing the
“_Komuro-bushi_” song. 348 _mon_ (34 _sen_ 8 _rin_)
From Iida-machi to the gate of the
Yoshiwara. Ordinary charge. 200 _mon_ (20 _sen_)
_Ditto_, with a caparisoned white
horse, and two footmen singing the
“_Komuro-bushi_” song. 348 _mon_ (34 _sen_ 8 _rin_)
From the Asakusa gate to the gate
of the Yoshiwara. Ordinary charge. 132 _mon_ (13 _sen_ 2 _rin_)
_Ditto_, with a caparisoned white
horse, and two footmen singing the
“_Komuro-bushi_” song. 248 _mon_ (24 _sen_ 8 _rin_)
The above proves the taste of the period for white horses, and besides
this there was a song in vogue in the Meireki era (1655–1657) which
described the graceful appearance of a man of rank visiting the
Yoshiwara on the back of a white steed.
Byō-chū oyobi In-shoku no koto.
(_Of the sickness of prostitutes and of their meals._)
Generally speaking, every _yūjo_ possesses a room in which she lives
irrespective of the fact of whether she has visits from guests or
otherwise; but, in some houses, when a prostitute falls sick, she is
not allowed to remain in her room, and is sent down to the _ō-beya_
(large apartment) for treatment: this room is known among the inmates
of the brothel as “_yosé-ba_” (place of gathering).
In a courtesan’s apartment is to be found every cooking utensil
necessary in the preparation of a meal, and therefore many of the girls
take their meal in their own room, merely getting boiled rice up from
the kitchen and preparing other articles themselves.
In some houses however, all the inmates have dinner together in the
kitchen, and so there is an old saying—“_Yūjo wo nabe-kama nashi no
shotai-mochi_” (“Yūjo are like house-holders who are possessed of
neither pots nor pans.”) In the Kajita-rō the _yūjo_ used to make their
servants boil rice for them in their own rooms over charcoal fires.
Hiké no koto.
(_Closing hours in the Yoshiwara._)
Mention is made in the “_Yoshiwara Ōkagami_” (吉原大鑑) that the _hiké_ was
fixed at 10 o’clock, but afterwards this was considered too early, and
no clapping of _hyōshigi_ (a pair of wooden blocks which are struck
together as a signal) was made at that hour. The great gate (_Ō-mon_)
was shut at 10 o’clock, but the _kuguri-do_ (a small low door cut in a
gate) was left open so as to permit ingress and egress. When the hour
of midnight struck, (then called _kokonotsu-doki_), the _hyōshigi_ were
clapped together four times, and the place was finally closed up.
Kōchō no koto.
(_The next morning._)
In the “_Yoshiwara Ōkagami_” (吉原大鑑)—referred to in the preceding
chapter—it says that “_the parting and return home in the morning is
called “Kōchō_” (後朝), but in ordinary Japanese the parting of two
lovers in the morning is idiomatically termed “_Kinu-ginu no wakare_.”
Hiru-jimai Yo-jimai no koto.
(_The day and night engagements of courtesans._)
The “_Yoshiwara Ōkagami_” (吉原大鑑) also says that there were formerly
two kinds of _shimai_ (仕舞 here the word means “engagement”)
viz:—_Hiru-jimai_ (day engagement) and _Yo-jimai_ (night
engagement.)[36]
Raku-seki no koto.
(_The removal of names from the register of the Yoshiwara._)
The “_Yoshiwara Ōkagami_” (吉原大鑑) says:—
There are three kinds of _rakuseki_. One is to leave the Yoshiwara
at the expiry of the term of engagement (_nenki aki_); the second
is to be redeemed by a guest before the term of service has expired
(_mi-uke_); the third is to be redeemed by parents (also _mi-uke_).
When a woman is discharged by her master, owing to the expiry of her
term of engagement, she receives back from him her contract (_shōmon_)
of service and goes away after bidding farewell to her friends and
acquaintances. At the same time a check or pass (_tegata_), couched in
the following terms, is given to the woman to serve as a token of her
right to pass out of the great gate:—
Courtesan ____(name)____ belonging to the house of ____(name)____.
Her term of engagement having expired, she is to be handed over to
her relatives outside the quarter, therefore please allow her to pass
through the great gate without fail. (Date)
(Signed) Headman, (SEAL.)
To Shirobei, Esq.
Great gate.
But although a woman may be fortunate enough to escape the bitterness
of this living death, and succeed in reaching the outside world again,
yet she has violated the virtue of chastity, wasted the flower of her
youth in vicious living, and as she is unaccustomed to attend to the
proper duties of women her future prospects are anything but cheerful
and reassuring.
Generally, the term of engagement is supposed to expire when a
prostitute reaches the age of 25 years, but as a matter of fact the
girls generally remain until they have reached the age of 27.
As for the _mi-uke_ (redemption by a guest), it is a vastly different
thing to the _nenki-aki_ (expiry of term of engagement) as it not
only relieves a woman from years of disgusting and painful servitude,
but it may enable her to attain to a life of comparative ease and
luxury. Under these circumstances, _mi-uke_ is earnestly desired by
many a prostitute, and although in vulgar novels certain girls are
made to decline the offer of _mi-uke_ by some rich guest, because
they have lovers to whom they have pledged themselves to marry on the
expiration of their term of engagement, such occurrences in real life
are extremely rare. Far from dissuading a guest from purchasing her
freedom, the average _yūjo_ will positively importune him to take her
out if he manifests his intention of doing so. When a guest wishes to
redeem a woman for whom he has taken a fancy, and whose affection he
desires to obtain, he mentions the matter to the brothel-keeper, who
in turn communicates with the girl’s parents, and as, of course, the
latter can raise no reasonable objection, the _mi-uke_ is forthwith
arranged. The redemption-money (_mi-no-shiro-kin_), and all the debts
of the girl, are paid by the guest, and her contract of service
(_mi-uri shōmon_ = “document-of-the-sale-of-the-body”) is returned. In
the proceedings that follow, the brothel-keeper plays the part of a
parent to the girl. To her friends _sekihan_ (red rice: rice boiled
with red beans) and other food is distributed, while presents of
_seki-han_ and _katsubushi_ (smoked bonito) are made to the tea-houses
of the Naka-no-chō to celebrate the occasion. Farewell tips are also
given to _geisha_ (singing girls), _hō an_ (jesters), and _wakai-mono_
(men-servants), with whom the guest is acquainted, and a splendid
banquet is held in the room where he has so often disported himself.
On this occasion, the girl who has been redeemed, and her erstwhile
fellow _yūjo_, assemble, and _geisha_ and _hōkan_ are invited to
enliven the dinner. After the feast is over, the couple are escorted
by a troop of men and women as far as the _ō-mon_ (great gateway),
where palanquins (_kago_) are waiting for them, and amidst a chorus of
good-wishes and “_sayonara_” (good-bye!) enter these conveyances and
ride away.
Further, there are two kinds of _yūjo_, known as “_zegen-tsuki_” and
“_zegen-nashi_,” or those who were sold by parents direct, and those
who are sold through the medium of procurers (_zegen_). Those who are
sold direct by parents (_zegen-nashi_) are easier and less expensive
to redeem, whereas the _zegen-tsuki_ (sold through procurers) are not
so, as the _zegen_ often purposely try to increase the debts of such
women, or to secretly prolong their term of engagement, thus throwing
obstacles in the way of their redemption by a guest.
Gwaishutsu oyobi tōbō.
(_Exit and flight from the Yoshiwara._)
The _Yoshiwara Ō-kagami_ (吉原大鑑) says that the going abroad of
prostitutes was prohibited at the founding of the Yoshiwara, and only
_tayū_ were occasionally allowed to attend the Hyō-jō-sho (Supreme
Court) to wait on officials.
In the case of a “jōro” being summoned before the “_machibugyō_” she
was accompanied by two _wakaimono_, the master of the brothel, five
wardsmen (“_go-nin-gumi_”) a representative of the “_nanushi_” and her
“_yarite_.” The latter made a small present to the attendants of the
“_bugyō_” that they might spread a mat for the “_jōro_” to sit on,
and the “_jōro_” remained silent while the “_yarite_” answered the
questions of the judge.
Once in every Spring, all the inmates of the brothels used to go out
to either Ueno, Asukayama, or Mukōjima, to see the cherry-blossoms,
and on these occasions they spent the day in drinking _saké_ under the
cherry-trees, and amusing themselves by dancing and other pastimes. The
custom of the _tayū_ appearing at the Hyō-jō-sho ceased about the era
of Kwan-ei (1624–1643), and that of cherry-blossom viewing also dropped
out of fashion after the Bunsei era (1818–1829). Even after this
latter date, sick prostitutes requiring the treatment of a physician
outside the Yoshiwara, or those who wished to go to their master’s
villa (_rō-shu no bessō_) for the benefit of their health, were
allowed to pass through the gate. If the parents of prostitutes who
lived at Asakusa, and in its neighbourhood, were dangerously ill, they
were allowed to visit them by the special permission of the _rō-shu_
(brothel-keeper), but even in these cases the women were passed
out under pretext of sickness, and a passport was given to them by the
_nanushi_, as follows:—
Courtesan ____(name)____ employed by ____(name)____, who is under my
management, being sick, is sent out of the great gateway (_ō-mon_) to
visit Doctor ____(name)____ accompanied by her master. She is to be
allowed to pass the gate without fail.
(Signed)__________
(_Nanushi_) (SEAL.)
To Shirobei Esq.,
Great Gateway.
A woman thus allowed out of the Yoshiwara would perhaps have looked out
of her _kago_ (palanquin) as she was borne along through the streets,
and wondered at the novelty of her surroundings. Then she might have
become impatient, owing to her anxiety after her parent’s health,
and urged the _kago-ya_ (bearers) to hurry forward. Arriving at her
parents’ house she would perhaps have found her father, seriously ill,
lying in squalid wretchedness, and have been met by her poor old mother
who, taking her daughter’s hand in her own, might have been overcome
with deep emotion and wept bitterly. Then came long consultations about
the future, and the day of grace began to draw to a close, for it was
a rule that courtesans out on leave had to return to the Yoshiwara
before 5.30 p.m. By and by the sad and solemn tones of the temple bell
at Asakusa would give her warning that her time had expired, and urged
on by the _yarite_ (an old brothel hag), whom she had perforce brought
with her, she rose and bade farewell to her weeping parents, and
re-entering her _kago_ was carried back to her life of gilded misery
well-nigh blinded by an agony of helpless tears.
Although the rules relating to the passage of the _ō-mon_ (great
gateway) were as above, there were some prostitutes who attempted to
run away from the Yoshiwara, owing to an irresistible desire to see
their lovers, or being heavily in debt. When such an event happened,
the brothel-keeper concerned sent out men on all sides to trace the
absconding woman, or applied to the police office (_mem-ban-sho_)
for her capture, and as detectives were immediately set to work to
ascertain her whereabouts, nearly all runaway women were caught and
ignominiously brought back to their masters. When an absconder was
brought back, she was censured for her ill-considered step by the
master, _yarite_, and _bantō_, and all the expenses incurred in
connection with her detection and capture were added to her debt: this
had the effect of prolonging the term of her servitude in the brothel.
Sometimes private punishment was meted out to her by the master if
he thought she deserved it. When an elopement was attempted twice or
thrice in succession, the woman in question was generally re-sold to
one of the prostitute quarters outside the Yoshiwara through the agency
of a _zegen_ (procurer): this practice was called “_Kuragae_” (change
of saddles). It is said to have been the custom that when the keeper
of a brothel outside the Yoshiwara was in treaty for the purchase of a
“_kuragae_” prostitute, he sent his _bantō_ to the house to which she
belonged as an ordinary guest. The _bantō_ spent the night with her,
and the _mi-no-shiro-kin_ (price-of-the-body) was settled according to
his report.
Yūjo byō-shi oyobi jō-shi no koto.[37]
(_Of the death and double-suicide of courtesans._)
The _Yoshiwara Ō-kagami_, (吉原大鑑) says that as the life of a courtesan
is generally spoken of as “_the painful world_” (_Ku-gai_ 苦界) its
really painful nature may be well imagined. Not only does a woman
who has fallen into this unhappy position become a mere plaything to
gratify the lusts of immoral men, but her freedom is so curtailed by
circumstances that she cannot even sleep and eat independently, and
therefore often has her constitution ruined owing to her irregular
mode of eating and drinking. Others fall sick by reason of excessive
anxiety over monetary affairs, and others fall a prey to loathsome and,
perchance, virtually incurable diseases.
When a first-class prostitute (_jōtō no yūjo_) was sick, if the master
of the brothel had been to much expense in procuring her, he would
spare no pains to cure her illness, and if the matter was serious the
woman would be removed to the master’s villa, (which was situated,
perhaps, in the vicinity of Imado or Sanya), for treatment. Such an
invalid would be closely attended by a _kamuro_ (female page), and
sometimes the master himself went to some temple to pray for her
recovery. If, however, the _yūjo_ happened to belong to a lower class,
and was not particularly popular, the attitude of the brothel-keeper
would be entirely different, and the treatment of the girl would
be simply entrusted to some quack doctor, the poor creature being
meanwhile thrust into an out-of-the-way gloomy room where she would
pine away unseen by the other inmates of the house. When her condition
was considered very precarious, the master, in order to avoid the
trouble and expense involved at death, used to summon her parents
and hand the sick woman over to them together with her _shōmon_
(document of engagement). When a _yūjo_ died in a brothel the matter
was reported by the monthly manager (_tsuki-gyōji_) of the Yoshiwara to
the _nanushi_, and the latter summoned her parents or surety to take
delivery of her corpse. In the event of the home of her parents being
far away, the remains of the _yūjo_ were interred by the brothel-keeper
in the Dōtetsu (general burial place) on the bank in the presence
of her surety. This place was also known as the “_nage-komi_” (the
“throwing-in-place”). There is an old poem illustrating the sad future
which is in store for some unfortunate _shōgi_: it runs:—
“_She is hurried to the grave in a pauper’s coffin, with but one
solitary little maid to mourn her._”
Alas! this description was only too true in many cases.
Besides natural death, there were many _yūjo_ who committed suicide,
together with their sweethearts, owing to various reasons, among which
the most powerful were either their inability to live together in
conjugal felicity with each other, or their pecuniary embarrassments.
Such double suicides had been known as _shinjū_ (心中 “the inside of
the heart or mind”), but about the era of Kyōhō (1716–1735) Judge
Ōoka Echizen-no-Kami, (who is regarded as the Japanese Solomon), gave
it out as his opinion that the word _shinjū_ (心中) if read reversed
would make _chūshin_ (中心 = loyalty) and that it was absurd to call the
double suicide of a man and woman, owing to love affairs, “loyalty”.
He therefore ordained that this kind of suicide should be called
“_aitai-jini_” (相對死 = “death by mutual consent”) and that word was
accordingly adopted.
The late Mr. Koidzumi Yakumo (Lafcadio Hearn) in his “_Glimpses of
Unfamiliar Japan_” (Vol. 1.) gives an extremely interesting example of
_shinjū_, as follows:—
“There lived in ancient times a _hatamoto_ called Fuji-eda Geki,
a vassal of the Shōgun. He had an income of five thousand koku of
rice,—a great income in those days. But he fell in love with an inmate
of the Yoshiwara named Ayaginu, and wished to marry her. When his
master bade the vassal choose between his fortune and his passion, the
lovers fled secretly to a farmer’s house, and there committed suicide
together.
“The sad occurrence was commemorated in a popular song which ran:—
_Kimi to neyaru ka, go-sen-goku toru ka?
Nan no go-sen-goku kimi to neyo?_
Once more to rest beside her, or keep live thousand koku?
What care I for koku? Let me be with her!”
According to the _Tōto Ko-fun-shi_ (東都古墳志 = Record of ancient tombs
in the Eastern Capital), the Jōkan-ji (浄閑寺) temple of Minowa, Shitaya
district, was the burial ground of the _yūjo_ of the Yoshiwara. When
the secret prostitutes of the City of Yedo were transported into the
Yoshiwara, they were called _baijo_ (賣女 = “sold women”). Originally
the bodies of these women, and other secret prostitutes, were interred
in the burial ground of this temple only, but later on it became the
custom to bury their remains elsewhere, as also those of regular
_yūjo_. The book goes on to say:—
“In these burial places are to be found many graves of _yūjo_ who
committed suicide with their paramours. On the tombstones are to be
found engraved the descriptions of the swords with which they killed
themselves, as well as their names and ages. There is something so
weird and uncanny about these horribly pitiless records on the grey
lichen-covered monuments that the blood of a sightseer runs cold
and he becomes so nervous that he leaves the gloomy spot with the
intention of never visiting it again.”[38]
Shin-Yoshiwara no Bodaiji.
(_The Cemetery of the Shin-Yoshiwara._)
The _Jōkan-ji_ temple at Minowa, and the Dōtetsu on[39] the bank (the
Nihon-dzutsumi), were formerly the fixed burial places of the Yoshiwara
_yūjo_ who died during their terms of service and who had no person
to take charge of their remains. Since the Restoration, however, the
regulations of the prostitute quarters having been altered, the burial
of a _yūjo_ in these cemeteries is a rare occurrence.
The grave of the famous Taka-o of the Mi-ura-ya, and that of Usugumo,
are both in the Dōtetsu cemetery. The grave of Usugumo is known as
_neko-dzuka_ (the-mound-of-the cat). October the 20th, 1893, having
fallen on the 233rd anniversary of the death of Taka-o, a grand
religious service was held in this temple and was attended by large
crowds of people belonging to the Yoshiwara.
On the grave of Taka-o is written:—
_Samu kaze ni_ Alas! poor maple leaves
_Moroko mo kutsuru_ which are crushed and scattered
_Momiji kana!_ by the cold winds.
Karitaku no Koto.
(_The temporary prostitute quarter._)
The _kari-taku_ means the establishment of a temporary place for
carrying on business when the Yoshiwara is completely destroyed
by fire. When such a disaster occurs, the brothel-keepers apply to
the authorities for a permit to establish a _kari-taku_, and their
application is said to be granted forthwith, even in case of only
partial destruction of the quarter by fire.
The Yoshiwara has been enjoying comparative immunity from fire for
quite a long period, but as late as 1862 (May 29th) more than half of
the brothels in the quarter were burnt to the ground, and a _kari-taku_
was established in the neighbourhood of Fukagawa. During the time that
the business is carried on in a temporary quarter, rules and usages are
not adhered to very strictly by the brothels, and sometimes, under the
pretext of aiming at simplicity, even tea-houses are allowed to carry
on the profession of brothel-keeping. Under these circumstances, more
money flows into the pockets of the brothel-keeper than in ordinary
times, and the trade usually becomes brisker than previously, owing
to a larger number of guests being attracted by the novelty of the
altered conditions. When therefore the Yoshiwara is not prosperous,
and trade is dull, the brothel-keepers not unnaturally wish for the
establishment of a _kari-taku_. In the 2nd year of Kei-ō (1866), while
the _kari-taku_ was established at Monzen-chō, Fukagawa, an application
was forwarded to the authorities by a certain brothel keeper, offering
the payment of 10,000 _ryō_ per annum if they would give permission to
leave the “temporary quarter” there permanently: the application was
rejected. The “_kari-taku_” practice originated in the third year of
the Meireki era (1657) when the brothels of Fukiya-chō were swept out
of existence by the memorable conflagration of that year, and pending
removal to the Yoshiwara, temporary brothels were established at
Imado, Sanya, and Yama-no-shiku by means of renting ordinary houses.
After that time, whenever the Yoshiwara was destroyed by a fire,
a temporary quarter was established for from two hundred to three
hundred days, either at _Ryōgoku_, _Nakadzu_, _Takanawa_, _Fukagawa_,
_Asakusa_, _Namiki_, _Hanakawado_, etc. The temporary brothels
established in the second year of Kōkwa (1845) were scattered here and
there in twenty different streets, viz:—_Yamakawa-chō_, _Ta-machi_,
_it-chō-me_, _Ta-machi_, _ni-chō-me_, _Sanya-machi_, _Asakusa-machi_,
_Shin Torikoye-machi_, _it-chōme_, _Shin Torikoye-machi_,
_ni-chō-me_, _Shin Torikoye-machi_, _san-chō-me_, in front of the
_Hachiman On-yado_: (in _Honjō_ district); _Rokushaku-yashiki_,
_Kaneyashiki_, _Nagaoka-chō_, _jit-chō-me_; _Hachirobei-yashiki_;
_Matsui-chō_, _it-chō-me_, and _Irie-chō_; (in _Fukagawa_ district);
_Eitai-ji-Monzen-chō_, _Naka-chō_, _Higashi Naka-chō_, _Yamamoto-chō_,
_Matsumura-chō_, _Tsukuda-chō_, _Tokiwa-chō_, _ni-chō-me_. In
_Hanakawado-machi_ and _Shōden-chō_ (_Asakusa_), Tamaya Sanzaburō, and
twenty-one other well-known brothels, were carrying on their business
under special charter (_tokkyo_) received from the authorities.
The official instructions issued at the time of the establishment of
temporary brothels were not uniform by any means, as they were drawn up
to suit special circumstances, but an idea of such notifications may be
gained by perusing the following transcript of one issued in the 6th
year of Kwansei (1794):—
Owing to the destruction by fire of the Yoshiwara, the carrying on of
the profession in temporary houses is hereby allowed, provided that
the Keepers strictly conform to the following conditions:—
(1). The clothes worn by the _yūjo_ shall not be such as to be
strikingly attractive.
(2). No _yūjo_ or _kamuro_ is to be allowed outside the houses, and
this applies even to being outside the houses to which they may
actually belong.
Even inside the houses, they shall not be permitted to appear in
the front second-storey or in the windows in such a manner as to
attract passers-by.
(3). So long as the business is carried on outside of the regular
quarter, everything shall be done in a quiet and unobtrusive
manner, and no such displays as are allowed in the Yoshiwara
shall be attempted nor permitted.
The following description of a _Kari-taku_ is given in the “_Yedo
Honjō-ki_” (江戸繁昌記 Records of the prosperity of Yedo):—
“A temporary brothel has, as a rule, very limited accommodation, its
capacity being only about one-tenth of that of the proper permanent
building in the Yoshiwara, while the influx of guests is ten times
larger than usual. Under such circumstances the beds of several
guests are packed into one room, and simply divided off by means of
screens: this kind of sleeping accommodation is called _wari-doko_ (a
divided bed). The beds are so arranged that sometimes one’s feet are
in juxtaposition with another person’s head and _vice versa_. Inside
the screens may be heard the voice of a _yūjo_ chattering to her guest
and flattering him with complimentary speeches such as:—‘Ever since
our first meeting my love for you has become an ardent passion, and my
whole soul yearns for your presence. There may be days when the raven
will cease its cawing, but never a night when I fail to dream of you,
my prince!’ * * *
“Within the fortification of screens to the left you can faintly
hear a guest whispering to his _yūjo_ that if she loves him he is
willing to redeem her and take her away. * * * In front, the guest
would appear to be a student, as he is reciting some Chinese poems
from the Tōshisen. By and by his _yūjo_ begins to wonder what he is
talking about, and asks him: ‘What magical words are you uttering,
and what is that _chōmen_ (account-book) you carry with you?’ ‘Alas!
what an ignorant woman you are!’ the guest retorts, ‘these are famous
Chinese poems which you would do well to remember.’ * * * At the back
is a guest who has been deserted by his _yūjo_ and who, finding it
impossible to remain passive, is having frequent recourse to yawning
and stretching. * * * Somewhere in the room is a gentleman who has
been carousing too freely, and although he is so top-heavy that
he cannot stand up, he objects to lying down and going to sleep. He is
apparently so beautifully boosy that when he struggles hard to arise
from his couch his legs give way under him and he sinks back huddled
up in a heap. Disappointed, but not discouraged, at his inability to
get up, the groggy veteran begins to express his maudlin sentiments
in a loud grumbling voice, venting his indignation one moment and
laughing at imaginary objects the next. Shortly afterwards he will
endeavour to relieve the monotony of existence by starting to sing
_Kiyari_ (firemen’s songs) in a shrill falsetto tone with all the
force his lungs are capable of, but every now and then breaking down
and finishing off with an inarticulate mutter or drunken gurgle.
“All of a sudden the lovely noise ceases, as his companion _yūjo_,
fearing that his continued bawling may disturb other guests, tries to
gag the singing inebriate, persuades him to lie down quietly and go to
sleep, covers him over with the bed clothes, and thus extinguishes him
for the balance of the night. * * * Now, one guest, who has been sound
asleep under the influence of liquor, suddenly wakes up and starts
off to obey the calls of nature, but in the semi-darkness he comes
into contact with the wall of screens surrounding him. Then he gropes
around in order to find an outlet, but failing, owing to his muddled
condition, to discover his geographical position, he commences to
angrily demand the reason of his supposed imprisonment and to threaten
that if he be not instantly released he will smash everything in the
house. No reply being forthcoming, the pot-valiant young man kicks out
savagely at the screens around him, knocking them down on the top of
those sleeping beauties within and rudely dispersing their pleasant
dreams; and then, giving way to a paroxysm of maniacal rage, he makes
a furious attack on the remaining screens, throwing them round and
down in every direction, thus disclosing some very interesting sights
in various parts of the room. This proves too much for the nerves of
the other guests, and a general stampede ensues, the whole position
being accentuated by the hysterical cries of _yūjo_ and shouts of
‘fire,’ etc.”
From this description it is evident that ordinary houses temporarily
transformed into brothels must have been interesting places to visit,
especially when crowded with guests, and that many comical and amusing
scenes must have been enacted within their walls. It is just
because the _kari-taku_ presented so many novel and funny features that
persons were tempted to go crowding into them.
Dōchū no koto oyobi tsuki-dashi no koto.
(_The procession of yūjo and the first appearance of “recruits” in the
Yoshiwara._)
The procession, or promenade, of _yūjo_ has been considered as, _par
excellence_, the most splendid spectacle and important ceremony of
the Yoshiwara. Once in the earlier years of _Meiji_, and once again
in 1887, when the cherry-blossoms were in full bloom, this wonderful
procession took place, but since then no attempt has been made to
revive the time-honoured custom. Even on the two occasions referred to,
the affair was not carried out in strict accordance with the ancient
style, but in a far simpler fashion.
The best account of this procession of _yūjo_ ever written is given in
Mr. Henry Norman’s “_The Real Japan_,” and it is therefore quoted here.
“The most extraordinary spectacle of the Yoshiwara takes place for a
few afternoons at five o’clock three times a year, when the flowers in
the long street gardens are changed. First in spring comes the pink
glory of the cherry-blossoms; then in summer the purple of the iris;
then in autumn the hundred colours of the chrysanthemum, the national
flower of Japan. When the new flowers are planted the _yūjo_ pay them
a state visit. From each of the principal houses half a dozen of the
most beautiful are chosen and arrayed in gorgeous clothes, their
hair dressed monumentally, combs three feet long stuck in from side
to side, and then they are mounted upon black lacquered _geta_ or
pattens a foot high. When they are ready to start a score of servants
accompany them; two or three precede them to put the crowd away; one
holds the hand of each _yūjo_ upon either side, and solemnly and very
slowly, a step a minute, the wonderful procession moves round the
garden. Other processions issue from the houses and meet and pass, and
by and by the whole main street of the Yoshiwara is packed with an
open-mouthed crowd, over whose heads the faces of the processionists
can be seen here and there.
“The walking upon the tall heavy _geta_ is itself an accomplishment
and girls are specially trained to it. One foot is put out a little
way and planted firmly, then the other _geta_ is lifted by the toes
tightly grasping the strap which passes between the first and second
toes, and swung round in front of the other and across it. The first
is then lifted and placed on the other side of the second—exactly
in fact like a skater doing the outside edge. The Japanese call it
_hachimonji ni aruku_—‘figure of eight walking.’ It is difficult to
give in words an adequate notion of the extraordinary effect of this
procession. The costly and gorgeous clothes of the _yūjo_, silks of
marvellous richness, and brocades blazing with scarlet and gold; the
exaggerated bow of her _obi_ tied in front (the courtesan is compelled
by law to distinguish herself in this way),[40] the pyramidal
_coiffure_, the face as white as snow, the eyelashes black, the lips
vermillion and even the toe-nails stained pink; the men-servants
respectfully holding the tips of her fingers on each side and giving
as much heed to every step as an acolyte might give to an aged Pope,
her several women servants walking solemnly behind: a footman pushing
back the crowd and another removing every twig or dead leaf from her
path; her slow and painful _hachimonji_; her stony gaze straight
before her, half contemptuous and half timid; the dense and silent
crowd; the religious aspect of the vicious ceremony,—all these go
to make a spectacle apart from anything one has ever seen—an event
outside all one’s standard of comparison—a reminiscence of phallic
ceremonial—a persistence of Priapus.”
In the “_Yoshiwara Taizen_” (吉原大全 _The Complete Book of the Yoshiwara_)
reference is made to the effect that
“The term _dōchū_ (道中 a journey; travelling) meant the going out of
a prostitute to an _age-ya_, or to promenade in the Naka-no-chō. It
was used in the sense of travelling to a distant part of the country
because, for instance, when a _yūjo_ of Yedo-chō started out to go to
Kyō-machi she was supposed to be going on a journey.
“It requires some considerable training to enable a _yūjo_ to make a
_dōchū_ as it is a most difficult thing to lift the lower portion
of her clothes in such a manner as to move with graceful dignity.
“Though there are no _age-ya_ to be found at present, the custom is
still preserved, and the appearance of _yūjo_ in the Naka-no-chō is
called the _dōchū_.”
In the days when there were _age-ya_ in the Yoshiwara it was the custom
for a _tayū_ to go out to the _age-ya_ to which she was called to meet
her guest, and on these occasions she was escorted by her _shinzō_,
_yarite_, _kamuro_, and _wakaimono_. With reference to this subject,
the _Dōbō Go-en_ (洞房語園) says that
“In the Moto Yoshiwara (prior to its removal to the present site),
_yūjo_ used to be carried to _age-ya_ on the backs of servants when
it rained. These men-servants (called _roku-shaku_), by placing their
hands behind their backs made a seat, by means of their palms, on
which the _tayū_ sat—or rather knelt—carefully wrapping her underwear
around her feet and leaving her outside dress hanging loosely down.
The _tayū’s_ hands were not employed in holding any part of her
bearer’s body, but engaged in adjusting her garments, etc. From
behind, a servant covered her with a long-handled oil-paper umbrella,
and in this position the _tayū_ is said to have looked very stylish.”
Since the removal of the old brothel quarter to the present Yoshiwara,
it is said that _tayū_ sometimes went out to _age-ya_ riding in
palanquins, as this was considered to be a convenient mode of transit.
In the “_Dōbō Go-en I-hon Kō-i_” (洞房語園異本考異) it is stated that
“Up to the era of Keichō the ladies of noble families were usually
borne on the backs of men-servants in rainy weather, palanquins being
but every seldom used. These ladies wore a kind of veil-like hood
(_katsugi_) on their heads, and on the backs of the bearers were
fastened wooden rests on which the women could sit. The custom of
prostitutes being carried on the backs of men-servants appears to have
arisen through a desire to ape the higher classes.”
[Illustration: Courtesans being carried to _age-ya_—_vide_ pages
192–193.]
“Since their removal to the Shin Yoshiwara, palanquins were often
used, but later on were dispensed with, and _yūjo_ preferred to walk
to their destination even in rainy weather. * * * As stated above,
better-class _yūjo_ went out in palanquins when the weather was rainy,
or the roads dirty, but _shin-zō_ used to walk, wearing sandals called
“_tsume-kakushi_” (nail hiders): these _tsume-kakushi_ were more
particularly in use in the Mi-ura-ya of Kyō-machi.”
The reason that the promenading of _yūjo_ became one of the most
splendid spectacles of the Yoshiwara in later days was because
(though the women ceased to pass to and from the _age-ya_ after the
disappearance of the latter) they used to be in the habit of showing
themselves gorgeously apparelled in the Naka-no-chō and holding an
exhibition of themselves in the tea-houses there. The custom of the
_dōchū_ is therefore a relic of a prevailing fashion of those times.
As already stated, a _yūjo_ who went out walking in rainy weather was
covered by a long-handled umbrella held over her head from behind. This
umbrella was usually employed by persons of gentle birth, but its use
by _yūjo_ was permitted on the supposition that the latter were Court
ladies.[41]
To see the procession of a _yūjo_ at night passing through the
brilliantly lighted streets surrounded by her _shinzō_, _kamuro_,
_yarite_ and _wakaimono_, proceeded by a great lantern emblazoned with
her crest, and followed by a crowd of tea-house and _funa-yadō_ people
each carrying a lighted _chōchin_, was a very imposing sight indeed,
and one which probably was unique of its kind and without a parallel in
any other country.
In ancient times all _yūjo_ wore sandals, but later on a woman named
Fuyō (in the employ of Hishiya Gonzaemon of Sumi-chō), who was an
open-handed extravagant person and fond of ostentatious display,
began to wear _koma-geta_ (a kind of matted clog) even on fine
days. The charming manner in which this woman minced along on her
_koma-geta_, artfully disclosing the scarlet lining of her clothes as
she walked, and the general grace of her demeanour, evoked universal
admiration. Imitation, it is said, is the sincerest form of flattery,
and the people must have been very much fascinated with Fuyō’s
_koma-geta_, for they all began to gradually imitate this style of
foot-gear, until it became the popular fashion of the Yoshiwara. On
New Year’s day, and on other holidays, no _koma-geta_ were used by the
women belonging to the house of Matsubaya Hanzaemon of Yedo-chō, and it
therefore seems that even at this period something of the simplicity
of old-time customs was retained, and that the community had not as
yet fallen into the luxurious habits of later days. The extravagance
manifested in wearing apparel used in promenading appears to have
reached its climax about the 11th year of Kwansei (1799), for it is
mentioned in the “_Kyaku Monogatari_” (客物語 = written by Samba—a noted
humourous writer), that the outer garment was of deep blue coloured
satin, the skirt being embroidered with a pattern composed of lobsters:
the underclothes were of green coloured _mōru_ (a kind of thick cloth
woven with raised figure’s) secured by a _shigoki_ (loose girdle)
of grey-coloured satin lined with red crêpe. The hair was done in
the _Hyōyo-musubi_ style and was ornamented with two combs and eight
hair-pins, this having been the regular custom of the time.
In the Bunkwa (1804–1817) and Bunsen (1818–1829) eras the _shikake_
(loose robes) worn when promenading were either black or green in
colour and were, as a rule, richly embroidered in gold and silver
thread and silk thread of various hues. The patterns most in vogue
were _unriū_ (dragons and clouds), _hiriū_ (flying dragons), _gan-ka
no botan_ (peony flowers below a rocky cliff), _mōshi kyō-hon_ (raging
lion), etc.; and the general effect of these gorgeous embroideries,
glittering with gold and blazing with all the colours of the rainbow
worked in harmonious blendings, was indeed striking and unique. Under
the _shikake_ were worn three white _rinzu_ (figured satin) _kosode_
(one over the other) each bearing five large crests dyed upon them.
Their manner of walking was known as _uchi-hachi-mon-ji_, because
each step was taken with the toes pointed inwards (_uchi_) like the
Chinese character (_monji_) eight (_hachi_ 八). There are but very few
persons who now understand this Style of walking. Later on, the custom
of wearing _geta_ (clogs) was introduced by the _yūjo_ Fuyō, (already
mentioned) who was vainly fond of finery, as she initiated the practice
of wearing three-legged _geta_, with straw sandals attached to them.
There were certain fixed ceremonial dresses which were worn according
to the season, and special costumes for the New Year’s holidays and the
1st day of the 8th month. It is stated in the _Kita-zato Bun-ken-roku_
(北里聞見錄) that on the 3rd day of the 1st month of the 11th year of Bunkwa
(February, 1814) among the _yūjo_ who were out walking in their brand
new _geta_ and magnificent gala dresses, astonishing the spectators
with the dazzling splendour of their gay apparel, was a woman named
Ariwara (belonging to the house of Tsuru-ya Ichisaburō of Kyō-machi
It-chōme) who became the centre of attraction owing to the novelty
of her costume. She wore robes made in imitation of those worn by
certain military officers of the Imperial Court (_Ō-uchi bu-kan_).
From the waist upwards the material was of a pale blue tint and on
it were embroidered three corded lines in silver thread. On the left
shoulder was embroidered a bundle of _kiri-fu no ya_ (arrows winged
with the spotted feathers of a falcon) worked in gold, silver, and
coloured threads. This upper garment represented the _naoshi_ (a kind
of robe worn by nobles). The lower portion was dyed a deep purple and
embroidered with _yatsu-busa no fuji_ (eight-petalled wistaria flowers)
in silver: this apparently was intended for _sashi-nuki_ (a kind of
silk trousers worn by warriors.)
Her _obi_ (girdle) was of crimson worked with elaborate embroideries in
gold, silver, and coloured threads. Her hair was done in the _karawa_
(_osa-fune_) style. The whole “get up” was that of a Court warrior, and
it is said that the idea of dressing herself in this manner occurred
to Ariwara owing to her family name being similar to that of the noted
warrior and poet of ancient day—Ariwara Narihira Ason. This instance
of the extravagant nature of a _yūjo’s_ dress in those days is merely
given to illustrate the quaint costumes adopted, and the lavish manner
in which the women spent their money in their endeavours to show
themselves off in novel and costly habiliments. It is curious that
notwithstanding the magnificence of their costume the _yūjo_ ceased to
wear _tabi_ (socks) in the Kwansei (1789–1800) and Bunkwa (1804–1817)
eras, although they had worn them prior to the Tenna era (1681–1683).
In ancient times the _tabi_ were of leather, stained purple.
When an _ane-jōro_ (elder-sister-harlot) initiated her _imōto-jōro_
(younger-sister-harlot), and allowed her to appear in the _misé_
for the first time, the act of thus furthering the interests of the
younger woman was called _tsuki-dashi_ (to push out and forward). It
was the bounden duty of an _ane-jōro_ to arrange everything connected
with this _tsuki-kashi_ ceremony at the request of the brothel-keeper,
and this act of duty was known as “_o yaku_.”
The _tsuki-dashi_ proper lasted for a week, and during that time the
debutante, accompanied by her _ane-jōro_, used to promenade the streets
of the Yoshiwara by way of introduction, in the same manner as if
she were performing a regular _dōchū_. Every day, both the debutante
and the _ane-jōro_ appeared in different costumes. The hair of the
_ane-jōro_ was done either in the _Hyōgo_, _osa-fune_, _sage-gami_, or
_shimada_ styles, but the coiffure of the debutante was invariably made
in the _shimada_ style. [Since the advent of the Meiji era this custom
has disappeared, but according to the narrative of a person who once
saw such a ceremony, the debutante wore yellow clothes, and the clothes
of her retinue of _yarite_, _kamuro_, and _wakaimono_, were all of a
similar hue].
During the week of introduction, the new-comer was engaged by her
fellow _yūjo_ in turn, and to the latter presents were made by way of
reciprocity.
The expenditure involved in connection with the appearance of a new
_yūjo_ was roughly estimated at from 300 to 500 _ryō_. Then there were
expenses connected with the _tsumi-yagu_ (bedding), usually ordered
from “_Dai-maru_” and “_Echigo-ya_.” Of course in all these matters
there were wheels “within wheels,” and, although the _tsuki-dashi_
expenses were nominally defrayed by the _ane-jōro_, as a matter of
fact the latter tapped the pockets of her guests to meet the bill.
Generally an _ane-jōro_ would have a number of admirers who
could well afford to be generous, such as officials of the Government
treasure godowns, wealthy _saké_ merchants of Shinkawa, etc., and
on these occasions the astute lady would not fail to wheedle out of
them all the cash she wanted. The classes of _yūjo_ who anciently
participated in promenading were the _Chūsan_ and _Yobi-dashi_, and
though the system of going to _age-ya_ when called by guests no longer
existed, the women continued to walk in the Naka-no-chō after dusk for
the purpose of showing themselves to the spectators and as a means of
attracting guests. The procession was proceeded by a couple of firemen
(_tobi-no-mono_) carrying a _kanabō_ (an iron staff fitted with rings),
which they struck on the ground as they walked, producing a sharp
metallic jingle and thus warning the crowds of the approach of the
_oiran_.
With them walked a _wakaimono_ (man-servant), lighting the way
with a big lantern (_dai-hari_) on which was emblazoned the crest
of the _yūjo_. The _yūjo_ herself walked slowly along escorted by
two _furi-shin_ (_furi-sode shinzō_), two _kamuro_, one _ban-shin_
(_ban-tō-shinzō_) and six _wakaimono_. They never returned the same
way they went out: it was a rule that when a procession walked on the
right side of the street on its way out, it should return on the left
side. While the procession moved, the proprietors of tea-houses came
out to the front of their establishments, saluted the passing beauty,
and urged her to sit down and rest there; but she would merely smile
graciously and walk on, placidly smoking her handsome pipe the while.
_Yūjo_ were formerly well-trained in their special manner of walking in
procession, and though they wore very high clogs, accidents but rarely
happened. To stumble was considered a sad disgrace, and if a
_yūjo_ accidentally tripped up in front of a tea-house custom demanded
that she should enter the establishment and entertain all the inmates
at her expense. The sight of a lovely and bewitching _yūjo_ clad in
rich silk brocades glittering with gold and polychromatic tints; of her
wonderful pyramidal coiffure ornamented with numerous tortoise-shell
and coral hair-pins so closely thrust together as to suggest a halo
of light encircling her head; and her stately graceful movements as
she swept slowly and majestically through the Naka-no-chō, must indeed
have appeared magnificent and awe-inspiring to the uninitiated. Indeed
we are told by ancient writers that the spectacle fairly entranced
the country-folk and “robbed them of their very souls”, and from such
remarks we may gather that these processions of _yūjo_ were by no means
conducive to the elevation of the moral tone of the crowds of persons
who flocked to see the Yoshiwara with gaping mouths and upturned eyes.
Yo-misé “Suga-gaki” no koto.
(_The night exhibition and the suga-gaki._)
In view of the approaching “mixed residence” of foreigners in the
interior, it is said that the authorities are contemplating the
advisability of interdicting the present custom of exposing _yūjo_ in
“cages” to public view; and that Susaki will be the first prostitute
quarter to discontinue this somewhat scandalous practice. Even as it
is, the exhibition of _yūjo_ in cages is not openly recognized except
in the Yoshiwara and a few other _yūkwaku_, so the probability is
that is will be discontinued ere long, even without the interference
of the local governments. While many have no sympathy with the
“_hai-shō-ron_”[42] movement which found a good many supporters in
Japan a few years ago, it is their profound conviction that the
prostitute quarters should not be made a show-place, that display for
the purpose of the attracting attention should be discouraged, and
that reverence for humanity and common chivalry should forbid even the
semblance of anything approaching the public exhibition of unfortunate
women, however low they may have fallen. At the present time, the
majority of the Japanese public do not seem to see anything shocking or
strange in the sight of hundreds of gaudily attired courtesans sitting
in rows exposed to public view as living “samples,” and this tends to
bridge over the sharp line of demarcation which should exist between
the _demi-monde_ and honest women. This again leads to a good deal
of freedom and license of speech, and permits the doings of _yūjo_,
and the libertines who support them, to be unblushingly chronicled in
newspapers and indelicately alluded to in novels. Then again, at the
time of the festival of the “_Tori-no machi_” the various _yūkwaku_
are crowded by a vast multitude of sight-seers including thousands of
young persons of both sexes: this means that very young and perfectly
innocent boys and girls are so accustomed to the strange scene, that
they see no indelicacy in it, and so they grow up knowing far more
about these matters than is good for them. To Europeans and Americans
it is a strange sight to see family parties, including modest young
girls, wending their way through the crowded streets on the night of
the _Tori-no-machi_, buying various knick-knacks and gazing at the
painted beauties in their gorgeous dresses of glossy brocade and
glittering gold. It is certainly opposed to foreign ideas to take one’s
young daughter sight-seeing in a prostitute quarter!
[Illustration: Modern Courtesans exposed “on view” in their cages.]
The chief objection to the public exhibition of handsomely dressed
women is that it tempts youths who might otherwise remain chaste, and
attracts them to the brothel-quarters. It is true that it is a boy’s
nature to wish to see all unusual spectacles and pageants, and so long
as they exist he will certainly make it a point of going and feasting
his eyes upon them. If the authorities decide to prohibit the present
system of “showmanism” it will mean that men will be obliged to enter
the houses in cold blood for a definite purpose, and not be exposed to
the temptation of being drawn in by the sight of a pretty face exposed
as “on sale.” The authorities would also be well advised to absolutely
forbid any kind of public _fête_ or festival from being held within the
precincts of _yūkwaku_, to have the gates strictly guarded as of yore,
and to refuse admittance to either women or boys unconnected with the
brothels. This would be a blow to the “business” for a time, but it
would result in a healthier moral tone among the rising generation, and
do good in the direction of diminishing, if not preventing, the serious
and far-reaching troubles and entanglements which occasionally involve
young men in great distress and lead them on to commit actual crimes to
gratify either their own salacious desires or the whims of the “scarlet
women” with whom they are infatuated.
While the quarter was still situated at the Moto Yoshiwara the
“profession” was carried on in the day-time exclusively, but when,
on the 9th day of the 10th month of the 2nd year of Meireki (24th
November, 1656), Ishitani Shōgen (the _Machi-Bugyō_) gave
permission for the removal of the brothels to the present sites, the
carrying on of business at night was also sanctioned.
This proving far more convenient for visitors who were not willing
to be seen by others entering the quarter, the number of day-guests
gradually dropped off, and at length nearly everybody came to visit
the Yoshiwara after dark exclusively. In this manner, the brothels
obtained the privilege of carrying on their “trade” both in the day
and at night, and the fees of courtesans (_age-dai_) were divided
into “_night_” and “_day_” fees. Each one of these fees was known as
a _kata-shimai_ (half engagement). When the “day” hours were over, a
large lantern (_andō_) was hung out in front of every brothel, and thus
a distinction was made between “_day_ and _night_”. The _Dōbō Gō-en
I-hon-kōi_ (洞房語園異本考異) says that:—
The reason why the profession of brothels was prohibited at night
during the era of Tenna (1681–1683) was because that period was
immediately subsequent to great internecine strife. Later on, in the
case of the Yoshiwara only, this restriction was removed, and since
that period the occupation has everywhere been carried on at night. In
the Yoshiwara for instance (as in other quarters), “day work” became
merely nominal owing to the simple reason that there were but very few
guests in the broad daylight.
The “_Yoshiwara Taizen_” (吉原大全) remarks:—
The “day” was from noon until 3 P.M. and the “night” from 5 to 10 to
o’clock P.M. Apparently finding that 10 o’clock P.M. was too early
to close up the “shops”, some genius hit on the pleasant fiction of
causing the watchmen to strike their _hyōshigi_ (wooden clappers)
announcing the hour as 10 when in reality the temple bell was striking
midnight. This originated the terms “real 10 o’clock” and “nominal 10
o’clock”.
At night-fall (about twilight) a small bell (_suzu_) was rung before
the shrine (_kami-dana_) at the entrance of the house, and at the
same time the _yūjo_ appeared in the _mise_ (cages) and the “_shinzō_”
of the house struck up an air called “_sugagaki_” on the _samisen_.
This performance seems to have been a relic of the times when harlots
were skilled in singing and dancing.
It is stated in the _Yoshiwara Taizen_ (吉原大全) that while the
Moto-Yoshiwara was in existence some short songs were sung to the
accompaniment of the playing of the _sugagaki_. The following are
examples:—
“Willow tree—forked willow tree—on the road-side!
Prithee tell me whither thou wilt incline thy drooping branches
when swayed by the breeze?
I trow ’twill be towards the gentleman you love!”
“Who is he that breaketh off a branch of yon willow tree on a
calm Spring day?
He is a gallant who rideth on a white horse.”
The singing of these songs was continued even after the removal of the
Yoshiwara, but was dropped after the era of Kwansei (1789–1800). It
also appears that the songs varied according to the house, but that
gradually matters became simplified until the songs ceased and the
_samisen_ was merely tinkled by the private _geisha_ of each brothel,
as a pure formality. Even the playing of _samisen_ ceased prior to the
advent of the Meiji era (1869–).
In the “_Nishiki-no-Ura_” (錦の裏) written by Kyōden, published in 1791, a
“_Furishin_” is made to say:—
“Who was in charge of the _samisen_ last night? The koshimoto
(a little maid) is complaining that she can’t find the _bachi_
(plectrum).”
This was because it was the duty of the _shinzō_ to play the _sugagaki_
every evening, and each one of them took charge of the _samisen_
alternately. Up to the An-ei period (1772–1780) _shinzō_ sung some
_naga-uta_ or _Bungo-bushi_ and played the _koto_ or _samisen_,
and, when the _shinzō_ happened to be a favorite, people came out in
front of the neighbouring houses to hear her sing. This custom was of a
comparatively later origin and was observed by some houses.
Now-a-days, just prior to the appearance of _yūjo_ in their “cages”,
the _gyū_ strike a bundle of wooden clog-checks (_gesoku-fuda_) against
the floor, and, while slapping the pillar of the entrance door with
the palm of their open hand, imitate the squeaking of a rat. The
hour this charm is performed corresponds to that at which _sugagaki_
was played in former days. _Sugagaki_ seems to have been evolved and
developed from the tunes of _koto_ music, because one authority states
that “_sugagaki_” means the playing of certain _koto_ airs without any
accompanying song. In ancient times a blind musician made a departure
in the direction of playing _koto_ music on the _samisen_, and this was
handed down in the Yoshiwara as “_sugagaki_”.
During the Genroku era (1688–1703) “_Ni-agari suyagaki_” “_Yedo
sugagaki_” and “_Sanya-sugagaki_” came into vogue owing to their
suiting the tastes of fashionable persons.
There is a _kiyomoto_ song entitled “_Hokushū_” in which reference is
made to the _sugagaki_, and the prosperity of the Yoshiwara at that
time vividly described.
Daijin-mai no koto.
(_Dancing of millionaires._)
This style of dancing was most popular in the Yoshiwara during the
Shōtoku era (1711–1715). The songs which were sung as a kind of
accompaniment to this dancing are said to have been composed by a
comic actor named Nakamura Kichibei (commonly known as Nishiban).
Kichibei, being an expert singer of _ko-uta_ (light songs), was present
at many _saké_ parties given by rich people, and entertained the guests
so well with his singing and dancing that he became very popular.
According to a certain book of songs, however, it is claimed that the
songs were composed by a man named Seisai, but as the same book states
the songs were composed during Gembun era (1736–1739) the identity
of the composer is extremely doubtful. If these ballads were really
written during the _Genroku_ (1688–1703) and _Shōtoku_ (1711–1715)
eras, it is inconsistent that the names of Kibun (紀文) and Naramo
(奈良茂)[43] should appear in the verses!
[Illustration: A Street Scene in the Yoshiwara a hundred years ago.
_Copied from a drawing by Kitagawa Utamaro._]
Some people allege that the ballads were the result of literary efforts
on the part of Kibun himself, but this seems rather apocryphal inasmuch
that the name of Kibun is mentioned in them, and he would hardly
compose songs about himself!
However, we may be well content to leave various antiquarians to
quarrel over musty documents and ancient books, and content ourselves
with knowing that the ballads _did_ eventuate in some way or other, and
that _somebody did_ compose them. The following extracts are made from
the “_Dai-jin-mai Kō-shō_” (大盡舞考證) and will give an idea of the songs,
but it must be borne in mind that the translation is very free owing to
the crudeness and vague character of the original text and the virtual
impossibility of reducing the words into intelligible English.
The treasures of the Shin-Yoshiwara are hidden by the back of a
palanquin. Passing through Shim-machi, Ageya-chō, Uki-hashi, Komura,
and Yatsuhashi, one comes out into the Shitaya streets, sees the small
cherry temple of Tōyeizan (Uyeno park) and the Toraren temple of
Kinryū-zan (Asakusa temple). The thing which is praised and admired
here is the long flowing haori of Kōhei-bō. Then you know Confucius
said, ha! ha! whosoever worships us, ha! ha! will certainly be dragged
to the wicked place, ho! ho! (Chorus:—“Ho-ho-hon, ho-ho-hon-non,
ho-hon-yo ho-hon-yo no notamawaku wa, soto senya soto senya ariya chin
na.)
Ha ha! ho ho! It is a felicitous omen of this tranquil reign that the
waves of the four seas are undisturbed ha! ha! ho! ho! Look at the
_Daijin-mai_ (dance).
(_Next “Daijin”_): The origin of the _kuruwa_ (prostitute quarters)
is that Yuge no Dōkyō, by Imperial command, founded a _kuruwa_. On
account of guests flocking in (_kuru_ 來) and their hearts being
softened (_wa_ 和) it has been named “_kuruwa_.” Ha-a! ho-ho! Look at
the _Daijin-mai_ (dance).
(_Next “Daijin”_): The five streets of the Yoshiwara have been named
because Yedo-chō has “_en_” (affinity) with Yedo city: Fushimi-chō has
affinity with _fushin_ (_fushin_ suru = to build); all difficulties
having been overcome Sumi-chō was built, Shimmachi opened, and the
bustling Kyō-machi established.
(_Next Daijin_): The title of _tayū_ originated when the first Emperor
of Shin was out a hunting and encountered a heavy rainstorm. His
Majesty then sought shelter under a small pine-tree, when the branches
of that tree miraculously extended and the leaves spread out and
locked together so closely that the Emperor was completely protected
from the elements. For such virtues the pine and the bamboo are
felicitous. Ha-a! ho-ho! Look at the _Daijin-mia_ (dance).
(_Next Daijin_): As to the beginning of guests, though the people
may know nothing about Corea or China, everywhere in Japan they know
the name of Kinokuni-ya Bunzaemon (Kinokuni Bunza). The Donsu Daijin
(“Damask” millionaire) rivals him and redeems Kichō of Miuraya. Five
rolls of red damask together with the cost of cotton-wool lining he
sends to Ogiya Hanshi. He also presents a dagger valued at 25 ry which
is still preserved as a treasure by Hanshi. Ha-a! ho-ho! Look at the
_Daijin-mai_ (dance).
(_Next Daijin_): As the next _daijin_ we must mention Master Naramo.
He redeemed Ura-zato who was well-known at Shimmachi as the leading
belle of the Kagaya. He placed her in a mansion specially built for
her reception at Kuroe-chō, Fukagawa, and the name of the mansion
was “Mokusan Goten”. The _hōkan_ (jesters) in attendance on her were
Itchō, Mimbu, and Kakuchō, while her female servants were O Man, O
Kin, and O Yō. Koshirō, Zenroku, Kichibei, and Seigorō attend her
in various capacities. But oh! what a change of taste, however, that
this _daijin_ should again redeem Arashi Kiyoji! Ha-a! ho-ho! Look at
the _Daijin-mai_ (dance).
(_Next Daijin_): The day-break on a Spring morning as sung by
Seishōnagon (noted poetress) is interesting. Being attracted by the
tinkling notes of _sugagaki_, crowds flock into the Yoshiwara dressed
in their holiday clothes, to visit the girls for the first time in
the New Year: so the _kuruwa_ becomes lively, and men walk about
stretching their necks like herons.
The _tayū_ and _kōshi_ prosper and the _sancha_ and _baicha_ also
become popular, their voices echoing like the twittering of singing
birds. The great houses of Yamaguchi and Miura are famed for their
wealth and prosperity, and indeed they are the famous things of
Sumichō. Ha-a! ho-ho! Look at the _Daijin-mai_ (dance.)
(_Next Daijin_): Yamamoto no Hōjun is a well-known resident of
Shimmachi, _Kago-guke_ (the feat of passing though a hollow cylinder
of basket-work) of Tsunokuni is the famous thing of Sumi-chō, the Tosa
smoked bonito sold by Temmaya is that of Ni-chō-me, and Hishidaya
Matayemon is said to be a descendant of Shōji Jimbei. Look at the
_Daijin-mai_ (dance.)
(_Next Daijin_): The beginning of Sin-goza must be attributed to Iseya
Jūbei. He redeemed a well-known _yūjo_—Katsuyama—belonging to Ōmatsu-ya
of Ni-chōme. _Yukata-mono_ (people belonging to respectable _samurai_
families) is the commencement of Shin-goza. Ha-a! ho-ho! Look at the
_Daijin-mai_ (dance.)
(_Next Daijin_): As to the beginning of _yubi-kiri_ (finger-cutting)
it first took place between the leading _yūjo_ of Tsuta-ya, named
Fujishiro, and Totsuno Yohei, and then the practice gradually spread
until it took place between Hana-Murasaki of Ōbishiya and Takayasu
Hikotarō. Ha-a! ho-ho! Look at the _Daijin-mai_ (dance).
(_Next Daijin_). [Here the text is so obscure that nothing can be made
of it.]
As to the tunes played when the _Dai-jin-mai_ was danced, these have
been explained by Mr. Ōtsuki Jōden and by the widow of the late noted
painter Naga-aki Anshun. (This lady was formerly a _geisha_ in the
Yoshiwara called O-Hata, and is well versed in music as well as the
ancient customs of the Yoshiwara: she lives at 42 Shōden-chō,
Yokochō, Asakusa, Tōkyō). These songs are said to have usually been
sung and danced by the _hōkan_ before guests during the New Year
holidays.
Daikoku-mai no koto.
(_Daikoku-mai dancing._)
The custom of performing this _Daikoku-mai_ dance has now completely
disappeared in the Yoshiwara.
According to the reply given by Shichizaemon, manager of the dancing,
and also a subordinate chief of beggars (_hi-nin kogashira_) to an
enquiry made of him by the _nanushi_ of the Yoshiwara in the 12th
month of the 13th year of Tempō (January 1843,) there was, during
the Genroku era (1688–1704), a subordinate chief of beggars, named
Manjirō, living at the creek-side of Nihon-bashi, and this Manjirō
was very proficient in the art of singing popular songs. One day he
picked up a mask (representing the god Daikoku) floating in the creek,
wore it, and danced comic dances in the Yoshiwara to the strains of
the samisen played by his friend Shichizō. This was the origin of
the _Daikoku-mai_. Shichizō (or Shichizaemon), who furnished this
information, was a lineal descendant of the _samisen_-player Shichizō.
The “_Dōbō-Goen_” says that in the first month of each year
_Daikoku-mai_ dancers came into the Yoshiwara, performed various antics,
and entertained people with their buffoonery and comic imitations of
things and persons.
They used to frequent the Yoshiwara from the 2nd day of the first month
of the year until the first “horse day” (_hatsu-uma_) in the second
month. After that the “_Daikoku-kagura_” players frequented the
Yoshiwara. The _Daikoku-mai_ dancers, however, visited the Yoshiwara on
all principal holidays, especially on the bean-throwing day (_mame-maki
no hi_) in the twelfth month and the last day (_ō-misoka_) of the
year. These players were great favourites with many of the _yūjo_, and
considerable money was given to them by the latter. It is said that a
good many secret love passages took place between the _yūjo_ and these
dancers. In the whole of the Yoshiwara only Kado Tsutaya at Yedo-chō,
Ni-chō-me, made it a rule of the house not to grant admission to the
_Daikoku-mai_ dancers. Prior to this, puppet dancers (_ningyō-tsukai_)
also frequented the Yoshiwara, but since the appearance of the
_Daikoku-mai_ dancers their visits ceased.
INTRODUCTORY SONGS OF THE “DAIKOKU-MAI.”
“In the morning of New Year’s day, facing the lucky direction of the
compass, Daikoku-ten smiles as benignly as the _fukujusō_ (Adonis
amuraisis.)
Like the rising sun flows a spring of _toso saké_ and crysanthemum
_saké_. The _kamuro_ crysanthemum emits the odour of youthful
fragrance. Various species of oranges, including that of the _ukon_,
and also the cherry-tree of _sakon_ are planted in the gardens and
covered with a purple hood. Look at the _Daijin-mai_ dance! Look at
the _Daijin-mai_ dance.
On the head of the _jōro_ are hair-pins with the figures of storks
which live a thousand years, and others having the flowers of the plum
and cherry carved upon them. The spectacle of the fairy-like _kamuro_
promenading may well be compared to the flowers which are blooming
in advance of the season. Who are the happy guests who come to this
paradise at the beginning of the year? Look a the _Daijin-mai_ dance!
Look at the _Daijin-mai_ dance.”
[Illustration: Daikokuten.]
After having sung these introductory songs, the names of the most
popular _yūjo_ were read out in a kind of doggerel verse. When
performing, the _Daijin-mai_ dancers wore some of the clothes
given to them by their patrons or _yūjo_ (some of these clothes were
quite costly, being made of crêpe) and held a fan in their hand. They
wore a hood known as _Daikoku-dzukin_, and the ceremonial _kamishimo_.
The presenting of fine clothes to these people by _yūjo_ was for
the purpose of buying their goodwill. The “_Kiyū Shōran_” (嬉遊笑覽 =
“Laughing-Pleasant view of Games and Pastimes”) remarks at such people
as Hidenji, Shinokasho, Kōgai, and others who imitated the style of the
god Daikokuten, put on a mask and hood, and at the beginning of the
New Year went around in every part of the city singing new songs: they
were also called “_Daikoku-mai_.” It appears that the _Daikoku-mai_
originated in the _Sagi-chō_ (ceremony observed on the 15th day of
first month (o.s.) which consisted in burning, near the house, the
pine, bamboo, _shimé_, etc. used as New Year’s decorations). Reference
is made in the “_Seken Muna-sanyō_” (世間胸算用) to the effect that in the
neighbourhood of a certain person lived a man whose profession appears
(though it was not, judging from the property he possessed) to have
been a kind of public entertainer. He pawned the _eboshi_ (cap worn by
nobles) _shitatare_ (long silk robe) and a long sword at the close of
the year in consequence of having his profession changed to that of a
_daikoku-mai_ dancer who required only a cheap mask and a hammer made
of paper. In the preface of the _Ebisu-Kyoku-Shū_ (夷曲集) it is remarked
that the abilities of the Daikoku are—firstly, he sits on bags of rice,
secondly he smiles benignly, and thirdly he puts all the luck and
wealth in the bag he carries. * * * The “_Gaen Suikyō-shū_” (雅筵醉狂集)
also says that compared with the picture of the Daikoku with his fan,
and sitting on five bags of rice, the fan is rather novel contrary to
the conventional five bags of rice. Next, the “_Kenjo Shinshō_” (賢女心粧)
referring to the description of the slums of Kwato (Kyōto) says that
the living of a family is made by the husband getting money by the
favour of Awashima Dai-Myōjin, and the wife by wearing the mask of O
Fuku (O-Kame). * * * In Yedo, occasionally beggars come round imitating
the style of Ebisu and Daikoku, but the times of their visits are not
fixed except in the Yoshiwara.
From these fragmentary accounts it would seem that the _Daikoku-mai_
was a kind of dance which degenerated until it was performed by
beggars, wearing the Daikoku hood like the _manzai_, in front of every
house. For a long time the Yoshiwara was free from their incursions,
but the custom was resuscitated during the Kei-ō era (1865–1867)
though in an altered form as far as their personal appearance was
concerned. The latter day dancers of the _Daikoku-mai_ were attired,
like the _Dai-kagura_ men in black clothes with crests upon them,
and white _hakata-obi_: the skirts of their _kimono_ were lifted
up (_shiri-hashi-ori nite_) and fastened by tucking the ends into
their _obi_. They even powdered their faces, imitated the voices of
well-known actors, and did other similar things. Though all these men
were of the _eta_ class there were many handsome fellows among them
and these were great favourites with the Yoshiwara women. A story is
told of the daughter of a tea-house keeper at Tamachi called Minoya
who eloped with one of these _eta_ class dancers. At that time _eta_
(leather dressers) were greatly despised in Japan, and under
serious legal disabilities which prevented them from having any
intercourse with other people, so the matter was at length brought
before a Court of Justice and eventually this led to their being
expelled from the Yoshiwara altogether.
There are now very few people—even in the Yoshiwara—who know much about
these latter day _daikoku-mai_ dancers.
Dote-bushi no koto oyobi Hayari-uta.
[_Dote-bushi (songs) and popular songs._]
Nowadays, a visitor to the Yoshiwara usually hurries there in a
_jinrikisha_, drawn by a couple of agile and sprightly young fellows
who rush along like the wind, brandishing their lanterns and giving
vent to unearthly yells as they run. In former days, in contrast to the
present time, a visitor rode slowly to the quarter on the back of a
white horse caparisoned in white and red, the animal being led by two
_mago_ (grooms) who sang _komuro-bushi_ in turn as they walked. The
charges from Nihon-bashi to the _Ōmon_ (gate-way) were 348 _mon_ (34
_sen_ 8 _rin_) including the fee for singing!
There were in the _Genroku_ (1688–1704) and _Teikyō_ (1684–1687)
eras many popular songs such as the _nage-bushi_, _tsuyi-bushi_,
_magaki-bushi_, _kaga-bushi_ of Uji Kagajō, _tanzen_, _numeri-utu_,
_rōsai_, etc. In the beginning of Kwambun (1661–1673) a song called
the “_Dote-bushi_” (embankment song) came into vogue, its name being
derived from the fact that it was generally sung while people walked on
the embankment. The words were about as follows:—
“Though it is such an out-of-the-way place, yet when I think of the
place of your abode it is dearer to me than a gallery of precious
jewels. Pray do not laugh at me in not paying heed to what others may
think or say. Rumours may spread.”
The “_Dōbō Goyen_” (洞房語園) says that the above mentioned _dote-bushi_
was composed by an old man named Odaka Josuisai who lived at the foot
of Matsuchi-yama. This old gentleman was also accredited with having
written many other popular _dote-bushi_ songs which were sung by men
belonging to the associations (_kumi_) of _otoko-date_, such as the
Roppō-gumi, Sekirei-gumi, Yoshiya-gumi, Kanabō-gumi, Daishō-jingi-gumi,
Tōken-gumi, etc. It is said that three of these songs remained popular
up to the 2nd year of Bunkwa (1805), and that two of them ran as
follows:—
“Yesterday was a jolly day, but somehow or other to-day seems gloomy.
Shall we send for _Wadadsumi_ (sea deity) or _Shusubiin_ (?). There
is something much better than these. What is it? We have left behind
the fruit of an egg-plant painted with _beni_. Where? It was drawn
somewhere at the _funa-yado_. Set your wits to work Bekuzō: have you
no good ideas about the matter? I have none, absolutely none. I have
no concern at all in the matter. The path of love, after all, is a
weary one. Last night when in the Yoshiwara I learned a popular song,
but I cannot remember either the beginning, middle, nor end of it.
Thinking I might forget it, I got it written down, but even the paper
on which it was written I left at the entrance of my house. It is just
the same with justice and reason. It is by no means amusing.”
There are only a few people who know whether the notes of these songs
still remain in the miscellaneous songs of to-day. The air of the
“_Yoshiwara Suzume_” seems to have been derived from the _dote-bushi_,
owing to the composition of Hara Budayū who from his infancy used to
recite these songs and attained great proficiency in singing them as
he grew up. The preservation of the _dote-bushi_ note to this
day—after the lapse of two centuries—must be attributed to him.
In a light song in vogue in the Yoshiwara about the era of Kwambun
(1661–1673), which was also popular even outside the quarter, it is
said:—
“The shaven-pated _taiko-mochi_ (jester) Kōhei, wearing a long _haori_
(over garment), goes strutting round the place.”
In a song sung by _hōkan_ about the same period are the words—“It
being very lonely we looked out at the brothels. In another direction
the tinkling of _samisen_ and the sound of merry voices is heard. Who
are these ladies wearing broad satin or damask _obi_? Let us ask their
names. Who are they? They are Taka-o, Usugumo, Shibazaki, Tsushima,
Yatsuhashi, Karasaki, and Yoshino. After having seen these beauties,
our wives looked like the ghosts of Suzuki-chō. Having fed and clothed
them, and left them at leisure, the beauty of these courtesans excels
the celebrated cherry-blossoms of Yoshino. Well, well, I met with
a remarkably lovely damsel. I rushed upon her with my javelin and
we wrestled together right valiantly, then I pretended to be in my
cups, and went round annoying everybody in the same manner as the
plant-louse injures and vexes the azalea.
Do you support your parents? I am a night watchman; if you have
compassion upon me pray speak to me. If possible give me your help.
The simpleton who has been jilted by the girl he fancies screens his
face with a _haori_. Is there any girl who will become his partner? No
doubt but that some _Kendon_ (low class strumpet) will be found for
him; _taiko-mochi_ will negotiate for him.”
The fact that during the era of Kwambun (1661–1673) visitors to the
Yoshiwara rode there on the backs of white horses, having the leaders
of the animals sing the _komuro-bushi_, is well-known to the general
public. The _komuro-bushi_ songs were generally sung by the horse
coolies on the Tōkaidō when they were carrying the baggage of _daimyō_
passing to and from Yedo. Originally the songs appear to have begun
in Mikawa province, and since the emigration of the people of
that province to the East, when the Tokugawa family moved to Yedo,
they resided in Mikawa-shima, Toshima-gōri, Musashi Province, and
the songs gradually spread among their descendants. The most popular
one is: “_How pretty are the beautifully dyed reins of the horses
which go up and down carrying baggage! It is the habit of the_ mago
(_horse-leaders_) _to accompany the sound of the horse-bells by singing
in aloud voice—_‘_When one passes through Yoshida, somebody dressed in a
long-sleeved garment of_ kanoko _beckons him from the second story_.’”
The notes of these songs are still remembered by some persons. Singers
of _komuro-bushi_ in the old days may be compared to the people who go
round the brothels nowadays singing ribald songs, _hōkai-bushi_, and
_hayari-uta_.
Annals of a Year.
The “_Yedo Kwagai Enkaku-shi_” (江戶花街沿革誌 = Annals of the “Flower
quarters” of Yedo) says that it will be interesting to mention the
chief regular events which occur in the Yoshiwara—some of which still
survive—all the year round.
Early on the morning of New Year’s day—about 4 o’clock—the bath-houses
in Ageya-chō and Sumi-chō sent men round the five streets of the
Yoshiwara calling out that the baths were ready, so the _yūjo_ arose
while it was still dark, took their baths, and spent much time over
their general toilet and dressing. By and by an announcement would be
made by the _yarite_ summoning the _yūjo_ to assemble in the _hiroma_
(廣間 large room) where the master and mistress of the house were
sitting, and here the employers and employed exchanged congratulations
and wished each other a happy new year. On this occasion the
company partook of _toso_ (spiced _saké_) and the keeper of the brothel
made presents to the inmates of his house; to each _yūjo_ two dresses
of silk crêpe, to each of the _shinzō_ and _yarite_ two dresses of
_tsumugi_ (pongee), to each of the _kamuro_ a dress of cotton on which
was dyed the pattern of pine-trees. After this ceremony was over, the
_yūjo_ returned to their own apartments and exchanged the compliments
of the season by going to each others’ rooms and paying formal calls.
In the afternoon the first promenade of the year (hatsu-dōchū) took
place, the _yūjo_ going through the Naka-no-chō and making New Year’s
presents of sets of _saké_ cups to the tea-houses. Each _saké_ cup was
inscribed with the crest of the _yūjo_ presenting it, and each set was
packed in a tiny box of _kiri_ (paulownia) wood on which was written
the _yūjo’s_ name and the name of the house to which she belonged.
There was no special rule as to the style of the clothes which had to
be worn by _yūjo_ on the occasion, but it was an invariable custom
that each _kamuro_ attending her should carry a large battledore
(_ō-hago-ita_) handsomely decorated with _oshi-e_ (a picture made
by pasting on a board pieces of thick paper wrapped with cloth of
various colours). Generally speaking, the most splendid decorations
were to be seen outside the tea-houses of the Naka-no-chō. In front of
the entrances were hung _ao-sūdare_ (green bamboo blinds), above the
lintel of the door posts they hung lobsters (boiled red) and placed
_mochi_ (rice cake); and over the whole was fixed a _kōmori-gasa_
(umbrella) bearing the signs of the respective houses, the latter being
intended to ward off rain and protect the objects below. In front of
every brothel larger New Year decorations were placed consisting of
branches of pine and bamboo, among the dark green leaves of which
were hung bright fragrant oranges. In the case of the smaller houses
in the side streets the decorations were usually confined to what is
called _senaka-awase no matsu-kazari_ (pine decorations set up back
to back), thus making a double decoration with a space of about three
feet between the two. (This custom is said to be observed even now). No
_yo-misé_ (night exhibition in cages) was held on New Year’s day.
[Illustration:
仲の町年礼の圖 Courtesans about to visit their friends on New Year’s
Day. Period of Kiōwa (1801 to 1803).
(After the Picture by Kitagawa Utamaro.)]
On the 2nd day of the 1st month the bath-house keepers again made the
same announcement as they had the previous day. With the first cawing
of the crow (_ake-garasu no koe to tomo ni_) the dealers of shell-fish
thronged the quarter and cried their wares for sale in loud voices.
Everyone who bought the _hamaguri_ (clams) purchased them only from the
men who were entering the quarter, and not from those who were going
out and back, as it was not considered lucky to buy from departing
vendors. The fishmongers, however, were smart enough to head off their
patrons, and entering the gate they walked up the street shouting away
until they arrived at the end of the thoroughfare. Then they quietly
sneaked back to the gate and started afresh. This practice was repeated
several times until the artful fellows had contrived to secure all the
business in sight, and the simple buyers were happy in the belief that
they had bought _hamaguri_ from fishermen who had only just arrived in
the Yoshiwara.
After this day guests began to arrive in increasing numbers, and,
according to the charming little custom in vogue, _yūjo_ used to
entertain their visitors with _toso_ (spiced saké) and make them
presents of fans, towels, _hanshi_ (paper) and other trifling articles.
The wife of a brothel-keeper always made a point of coming out, dressed
in ceremonial clothes, to congratulate every guest on the New Year, and
at this season the food served to patrons was better and more varied
than usual. On this day, wives of the tea-house-keepers returned the
congratulatory visits of the _yūjo_, going from room to room for that
purpose.
From the 2nd day, until the end of the 1st month, as well as on the
first horse-day (_hatsu-uma_) of February, and on the 8th day of the
same month, the _Daikoku-mai_ dancers came to every brothel and the
_yūjo_ vied with each other in giving them tips.
Only Tsuta-ya of Yedo-chō formed an exception to this rule, as it was
the habit of that house not to grant admittance to the dancers.
On the 7th day the _nanakusa-no-iwai_ (ceremony when a soup compounded
of seven kinds of greens is eaten on the 7th day of the first month)
was performed, and on the 11th day came the ceremony of opening
store-houses for the first time in the year (_kurabiraki_). On the 14th
followed the _toshikoshi_,[44] while on the 15th, 18th, and 20th there
were some further ceremonies observed. The date of celebrating the
_Ebisukō_[45] was not uniform, and each brothel had its own methods. In
ancient times it was a universal custom to observe this ceremony twice
a year, viz—in January and October. In the era of Bunsei (1818–1829)
the ceremony in the 1st month became greatly curtailed, and
finally the Ebisukō was only observed in the 10th month.
The _yūjo_ did not all appear in the cages until the 20th of the 1st
month, so the night aspect of the Yoshiwara did not resume its normal
appearance until this date. The _saruhiki_ and _dai-kagura_[46] began
to pour into the Yoshiwara from the 1st day of the 2nd month: on the
night of the first “horse day” the front of every brothel in the first
and seconds wards of _Yedo-chō_ and of _Kyō-machi_ was illuminated by
a large lantern on which was written the names of the _yūjo_ in the
house. Votive offerings of red rice, fried bean-curd, and fruit were
made to the family shrines of the god Inari.
Many of the _yūjo_, accompanied by their guests, visited the
four temples in or near the quarter dedicated to Inari Sama,[47]
viz.—Kurosuké Inari, Akashi Inari, Kai-un Inari and Enomoto Inari.
_Kagura_ dances[48] were performed in the Jishimban (guard or watchman’s
office) at Yedo-chō Ni-chō-me, and all was bustle and confusion in the
Yoshiwara. The following day the brothel-keepers contributed to the
shrine of Inari the large lanterns which had been hung before their
establishments the previous evening. On and after the 3rd day of the
3rd month cherry-planting (_hana-ue_) commenced.[49] Cherry-trees
were planted on both sides of the streets of the Naka-no-chō, and these
drew a multitude of sight-seers who gazed with delight on the delicate
pink and white blossoms which smothered the branches in a rolling mist
of fairy-like florescence. The origin of this custom is mentioned
elsewhere.
In April the cherry-blossoms had already fallen, green leaves had
appeared on the trees, and everything foretold the rapid approach of
Summer. Towards the end of this month fire-fly dealers (_hotaru-uri_)
began to perambulate the Naka-no-chō, exhibiting their luminous wares
as if in mockery of those who scorched their bodies in the fire of lust
and dissipation!
On the 5th day of the 5th month the _yūjo_ changed their winter clothes
for those of summer, and used to present new summer dresses to _shinzō_
and _kamuro_, but it seems that the cost of these latter was defrayed
by guests of the house out of compliment to the _yūjo_ with whom they
were acquainted. There is a comic song which runs:—“_Those guests
who ran away during the last days of the old year, and returned in
the Spring, have again fed on account of the utsuri-gae_ (change of
garments).” It is rather laughable that the _yūjo_ themselves would
tease guest by reciting these lines. On this day, as on New Year’s
Day, the _yūjo_ visited the tea-houses of Naka-no-chō to wish them
the compliments of the season. Later on, it became a custom to plant
iris blossoms in the quarter, after this day, as a means of attracting
visitors. After the beginning of the _doyō_ season in June, _yūjo_
made presents of fans to their familiar guests, and to tea-houses,
as a token that they solicited continued patronage at the hands of
their friends.
On the 7th day of the 7th month the festival of the weaver was
celebrated in the quarter by _yūjo_ tying branches of bamboo (with
white fans, on which poems were written, fixed to them) before their
doors. Even the inmates of smaller brothels observed this time-honoured
custom. In some houses the keepers, acting on the advice of guests,
took advantage of the opportunity to make a display of rare curios and
furniture, and consequently the Yoshiwara was thronged with visitors.
On the 10th day the festival of the Asakusa Kwannon took place.
This day was called the “_shi-man-roku-sen-nichi_ (46,000 days) the
idea being that he who visited the temple on that day performed as
meritorious an action as if he made a pilgrimage there on 46,000
occasions, and consequently it follows that one visit to the Asakusa
Kwannon on the 10th day of the 7th month ensured the pilgrim a
life-long blessing from Buddha.
This festival attracted crowds of people to the Yoshiwara and
“trade” boomed up on account of the large number of visitors
seeking “blessings”! From the dawn of the 12th day until 9 o’clock
on the following day the stalls of dealers in articles necessary
for celebrating the festival of the dead were erected between the
_Ō-mon_ and _Suidō-jiri_. This festival was called the “_Kusa-ichi_”
(Grass-market). Toilet articles and toys were also sold on this
occasion. On the night of the 13th day no guests were received, and
the _yūjo_ roamed about the quarter, as they choose, in groups of
threes or fives. In their rooms the _i-hai_ (a wooden tablet
bearing the posthumous name of dead persons) of their parents were
placed on their wardrobes and before these improvised altars _yūjo_
offered tearful prayers from aching hearts. A Japanese stanza says:—
_Ushi uma no tsunagare-nagara nagare-keri, chiisai toki wo hanasu
keisei._
“Courtesans separated from their parents in early childhood and
drifting over the sea of life tethered together like dumb driven
cattle.”
On the 15th day the _yūjo_ paid another complimentary visit to the
tea-houses, in the same way as they were wont to do on New’ Year’s Day.
From the last day of the 6th month, and during the 7th month, while
the “Feast of Lanterns” continued, the _hikite-ja-ya_ (tea-houses)
of the Naka-no-chō hung lanterns, generally square in shape, inside
and outside their houses, but on the 13th and 14th this practice
was suspended and after the 15th new lanterns were substituted. The
lighting of _bon-dōrō_ (memorial lanterns) during the _bon_ (feast in
memory of the dead) is a universal custom in Japan, and originally
lanterns of various shapes were used in the Yoshiwara. But since the
lighting of a special kind of lantern in the 7th month of the 13th year
of the Kyōhō era (1728) in memory of the third anniversary of the death
of Tamagiku of the Manji-ya, the pattern has become more uniform and
the custom more general in the quarter.
On the 1st day of the 8th month (_hassaku_) the _yūjo_ went in
procession through the Yoshiwara wearing _shiro-muku no kosude_ (wadded
clothes of white silk). In ancient times _yūjo_ wore lined clothes
(_awase_) of dyed stuffs on the _tango no sekku_ (the festival
of the sweet flag celebrated on the 5th day of the 5th month) and
similar clothes of white silk on the 1st day of the 8th month. One
year, in the beginning of the _Kwambun_ era (1661–1672), it happened
to be extraordinarily cold and a _yūjo_ named Yūgiri (evening mist)
belonging to the Sōgyoku wore wadded clothes on the 1st of August, thus
making a departure from the established usage. Her costume attracted
universal attention, and she looked more beautiful and happier in it
than the other women, who appeared chilly and uncomfortable in their
lighter garments. Two years later, on the 1st day of the 8th month,
all the _yūjo_ turned out in wadded clothes in spite of the fact
that the season was unusually warm, and henceforth this costume was
generally adopted. Another version attributes its origin to the fact
that during the Genroku period (1688–1703) a _yūjo_ named Takahashi,
of the Tomoeya, went to an _ageya_ in response to the invitation of
an intimate guest, despite her illness, attired in her night-garment
of white wadded silk. This version of the origin of the custom is of
doubtful authority. During the same period a _yūjo_ belonging to the
Myōgo-ya, named Ōshū, used to promenade wearing clothes of white silk
on which were depicted human skulls and _susuki_ (_eularia japonica_:
“reed-grass”) painted in India ink, greatly surprising spectators with
her extraordinary taste. On the 14th, 15th, and 16th, the ceremony of
“viewing the moon” (_tsuki-mi_) was observed. On those nights _sambo_
(wooden stands) were stood out and loaded with dumplings, chestnuts,
beans in pods, sweet potatoes, persimmons, lespedeza blossoms (_hagi_),
eularia grass (_sususki_), aster blossoms (_shion_) etc., as offerings
to the moon. They also set out vessels filled with sacred wine, and
burnt altar-lamps in her honour.
[Illustration:
八朔之圖 Gathering of Courtesans at the “_Hassaku_” (1st day of the
8th month).
(_After the Picture by Kitagawa Utamaro._)]
In the rooms of the _yūjo_ were set out artificial representations of
the seven kinds of autumn flowers to represent an autumnal field, or a
_sudare_ of glass was hung in front of the shelf by way of ornament.
At first liliputian (boy) actors, and puppet showmen, etc., were
called into brothels to give entertainments on these nights, but later
on this custom disappeared. During the greater part of the eighth
month, commencing on the 1st day, the festival of Kurosuke Inari was
celebrated, and the Yoshiwara then presented a very lively spectacle
in consequence of the exhibition of cars, filled with dancers and
musicians (_neri mono_), which were drawn about the streets. Up to the
Bunkwa era (1804–1817) bamboo branches were set up on either side of
the _ō-mon_ (great gateway) and _shime-nawa_[50] were hung upon them.
Throughout this month _yūjo_ who were proficient in singing and dancing
took part in _niwaka_[51] dancing for the amusement of the general
public whenever the weather was fine.
The first day of the 9th month being considered a day of good omen
(_kashin_) every brothel celebrated it in an appropriate manner. On the
9th day of the same month, another day of good omen, called the _chōyō
no sekku_,[52] chrysanthemum blossoms soaked in _saké_ were eaten. This
custom was borrowed from China.
On the 12th, 13th, and 14th, moon-viewing parties were held as in
the previous month, and those guests who had been present at a
party on the eighth month were under obligation to again take part
in this second observance, as the _yūjo_ evinced much aversion to
_kata-mi-dzuki_ (a partial moon-viewing). The second “moon-viewing”
was known as (_nochi no tsuki-mi_). In the 9th year of Bunkwa (1812)
chrysanthemums were planted in the Naka-no-chō for the first time: this
was repeated several times in succeeding years but, probably owing to
the show not being sufficiently interesting to draw any large number of
fresh guests, it was eventually abandoned as too expensive a practice.
On and after the first “wild boar” day of the 10th month the big
braziers (_ō-hibachi_) were brought out in every brothel, and summer
clothing was changed to that of winter. The festival of Ebisukō fell
on the 20th day, and banquets were giving throughout the quarter: the
_yūjo_ had a holiday on this occasion, but some of the most popular
of them were accustomed to invite certain familiar guests as they
were proud enough to consider it rather a disgrace to allow such an
interruption of the exercise of their profession.
The _hi-busé_, or “fire preventing festival” took place on the 8th day
of the 11th month, when oranges were scattered about the gardens of
the _jōroya_ and scrambled for by children. On this night, lanterns
were lighted throughout the Yoshiwara. On the 17th and 18th, what was
called the _Aki-ha-matsuri_ (festival) took place. In front of the
large street lamp at Suidō-jiri, dealers in various articles erected
temporary sheds for the sale of their wares, and the neighbourhood
was crowded by _yūjo_ and other people. On every “day of the bird” in
this month all the gates of the Yoshiwara were thrown open, and the
_Tori-no-ichi_ festival was held in the quarter. On this night
large numbers of persons thronged the quarter and formed an immense and
surging crowd. The origin of the _Tori-no-ichi_ festival is stated in
another chapter.
On the 8th day of the 12th month “_kotohajime_”, or New Year’s
preparations, began, and on the 13th was the regular _susu-harai_ or
general house-cleaning, but, as a matter of fact, the _susu-harai_ was
generally finished earlier than that date. The 17th and 18th days of
the 12th month being “market days” (_ichi_) of the Asakusa Kwannon,
a larger number of persons than usual visited the Yoshiwara, and
the brothel keepers sent men to the market to purchase paper images
of Daruma which they placed on the main pillars of their houses for
good-luck. After the 20th, the making of _mochi_ (rice-cake) commenced
at each house, and firemen from Minowa, Kanasugi, Sanya, Imado, and
vicinity, came to render assistance in pounding the _mochi_ of those
brothels which usually patronized them. In return for this assistance,
the _yūjo_ were in the habit of giving these firemen new _hanten_,
_momohiki_ and _tenugui_ as presents of the season. This custom is said
to have been originated by Chōzan of Chōji-ya during the Hōreki era
(1751–1763). The following verses of a song while pounding _mochi_ may
be of interest:—
“I can hear your voice but cannot see you. You are really like a
cricket that chirps in the field.”
“If you live in Owari while your wife lives in Mino, you will
naturally long for the latter province even though there be no
rain.”[53]
“Even a ship which is slowly sailing on the sea quickens its speed if
beckoned by a courtesan.”
[Illustration:
餅つきの圖 Preparing “_Mochi_” (Rice Flour Cake) for the New Year in
the Yoshiwara. Period of Kiōwa (1801 to 1803).
(_After the Picture by Kitagawa Utamaro._)]
From the 20th day of the 12th month the night exhibition of _yūjo_
ceased for the year in the best houses, and even the other
brothels followed this example after the 20th day.
From about the 22nd day of the 12th month, until the 7th day of the 1st
month, a hole was dug in the open space within the brothel entrance,
and in this a fire was kindled by _shinzō_ and _kamuro_. This hole
was called _niwa-gama_ (garden furnace), and the custom of lighting a
fire in such a position was observed until the era of Bunkwa, when it
gradually fell into desuetude.
The above were the principal events in the life of _yūjo_ in former
days, but besides these there were days called _maru-bi_ and _mom-bi_:
on these days guests were obliged to pay the _agedai_ for both day
and night, although their stay might be limited to only one of those
two general divisions of time. The _marubi_ included the first seven
days of the first month, also the 14th, 15th, and 25th days—in all 10
days. The _mom-bi_ (crest-days) consisted of the five _sekku_ days
(as mentioned in an earlier part of this book) and they were so named
because there were five crests dyed on ceremonial clothes. Some people
pronounced this word _mono-bi_.
By the era of Kyōhō (1716–1735) the number of the _mom-bi_ had greatly
increased and reached ten every month, but then they gradually
decreased and there are only three or four observed at present.
Naka-no-chō no Hana-ue.
(_Flower-planting in the Naka-no-chō._)
Every year, on and after the 3rd day of the 3rd month (old style),
notice of the opening of the flower season (_hana-biraki no fuda_)
is posted at the _ō-mon_ (great gateway), and in the middle of
_Naka-no-chō_ fences of green bamboo are constructed within which
are planted blooming cherry-trees. The commingling cherry-blossoms,
blending together into one dense mass of soft fleecy rolling cloud
which braids the trees with visible poetry and transforms the avenue
into a veritable fairy bower of pink and white florescence, the
dazzling glory of the electric lights, and the flashing brilliance
of thousands of crested lanterns, makes up a sight which baffles
description and must be seen to be appreciated. The garish splendour
and blazing radiance of the Yoshiwara at this time is such as to have
earned for it the appropriate name of _Fuyajō_ (不夜城 = “Nightless
castle”).[54] Besides the actual flowers, artificial is added to
natural beauty, and curtains with a cherry pattern dyed upon them are
hung up in the second story of the tea-houses. There they gently wave
in the soft spring zephyr, beckoning the passer-by alluringly and
enticing him to exploit the secrets of dreamland which they veil so
cunningly and suggestively. Of late years plum-trees are planted in
the second month, iris in the 5th month, and chrysanthemums in the 9th
month (old calendar), and on one occasion the figures of well-known
actors made of chrysanthemum flowers—the work of the noted Yasumoto
Kamehachi—were also shown. But of all the flowers planted none can
equal those of _Naka-no-chō_ “_Yo-zakura_” (“night-cherries”) which
have become famous throughout the length and breadth of Japan, and
whose praises have been sung in song and told in story generation after
generation by enthusiastic poets and writers during more than fifteen
decades.[55] The origin of flower-planting was that in the second
year of _Kwampō_ (1742) cherry-flowers in pots were exhibited in front
of the tea-houses, and this having been noised about the city of Yedo,
multitudes of persons visited the Yoshiwara nightly in consequence. The
Yoshiwara people were not slow at taking the hint, and the following
year several hundred cherry-trees were planted at Naka-no-chō.
[Illustration:
仲の町花盛之圖 Courtesans and Guests viewing the Cherry-blossoms in
the Naka-no-chō. Period of Kiōwa (1801 to 1803).
(_After the Picture by Kitagawa Utamaro._)]
Later, in the 2nd year of En-kyō (1745), cherry-trees were planted
between the _ōmon_ and Suido-jiri, bamboo fences being built around
and bright lanterns being lit under them to enhance the effect. This
departure attracted a large number of persons to the quarter.
In those times the expense of the enterprise was fixed at 150 _ryō_
every year, 40 per cent being paid by the _Kembansho_, 40 per cent
by the miscellaneous traders in the Yoshiwara, and 20 per cent by
the tea-houses. The subscriptions were made in the shape of daily or
monthly deposits by those interested, and it appears that this practice
is still in vogue.
In front of the tea-houses on either side of the street curtains dyed
with fantastic designs were hung, and in the front rooms red carpets
were placed, these practices being observed even at the present day.
In ancient times, _kamuro_ and _shinzō_ were allowed to visit Ueno,
Asuka-yama, Mukōjima, and other places to view the cherry-blossoms
during this month; and another holiday was taken by the inmates of
brothels, including _yūjo_, _wakaimono_, etc., who spent a day in
giving _saké_ parties and viewing the blossoms in the _Naka-no-chō_.
One year the following song was composed by Ki-no-kuni-ya Bunzaemon and
Kikaku conjointly:—“_Like silvery haze the cherry-blossoms reflect the
setting sun; they are like a mountain strewn with golden flowers._”
The prosperity of the Yoshiwara was at its zenith at this period, and
the quarter was counted as one of the places in Yedo which was “worth a
thousand _ryō_ per day.”
Tōrō no koto.
(_Lanterns._)
At present, in the month of August every year, a large lantern, on
which is a painting from the brush of some well-known artist, is
exhibited in the centre of the Yoshiwara at _Naka-no-chō_ for the
purpose of attracting people. Besides this show-piece, revolving and
other lanterns of various shapes and designs are hung in front of
the tea-houses and lit up nightly. Under these circumstances many
persons—not excepting women—flock into the Yoshiwara to witness the
brilliant spectacle, and many a prodigal is induced to squander money
there by reason of the lanterns which apparently only serve to dazzle
his eyes and obscure his reason instead of enlightening him and guiding
his footsteps. The general style of lantern is vertically long but
narrow in breadth, it being made of silk stretched on black-lacquered
frames. It is supported by a pair of cedar poles covered with an
_ichimatsu shōji_ by way of a roof. Each house is provided with a pair
of these lanterns, one facing the street and the other the interior
of the building, so that one can be seen from either side: this
arrangement has nullified the old saying “_tōrō wa ura kara miro,
niwaka wa mae kara miro_” “(_look at the lanterns from behind and the
niwaka dance from the front_”). One writer observes that as late as the
20th year of Meiji (1887) the lanterns placed in front of tea-houses
faced the streets, and were therefore only seen to advantage by
pedestrians, while actual guests who went up into the second story
of a tea-house had to content themselves with looking at the rear of
these lanterns. The present day fashion would seem to be of very modern
origin indeed. After the 10th year of Meiji (1877) the tea-houses in
the Naka-no-chō hit upon the novel idea of putting up white cloths at
the entrance and making displays by means of magic-lanterns, but as
this made the Yoshiwara practically a dark world it occasioned great
inconvenience to the guests. From time to time the tea-house-keepers
have shown themselves very ingenious in getting up new schemes to
attract visitors, and on one occasion they displayed an artificial moon
on a screen so contrived as to show the movement of clouds flitting
across its face: all these displays are reckoned as making up one of
the notable events which take place in the Yoshiwara yearly.
[Illustration: Illuminated lanterns in the _Naka-no-chō_]
[Illustration:
Illuminating Tea-houses with Lanterns in the Kiōwa period (1801 to
1803).
(_After the Picture by Kitagawa Utamaro._)]
According to the old custom, every year, from the last day of the
sixth month to the last day of the seventh month, _bon-dōrō_ (lanterns
erected at the festival of the dead) were shown by all the tea-houses
in the Naka-no-chō, but they were not exhibited in front of the small
brothels in side streets as at present. The exhibition was suspended
on the 13th and 14th days, and after the 15th day new lanterns called
_ni no kaeri-dōrō_ were substituted. The lighting of lanterns in the
7th month of the year, during the festival of the dead, was a universal
custom in Japan from olden times, and therefore lanterns of various
shapes and sizes were used in the Yoshiwara also. The “_Yoshiwara
Taizen_” (吉原大全) says that one summer a popular _yūjo_ named Tamagiku
was taken suddenly ill, and that after lingering for a little while she
passed away at the beginning of the 7th month.
In order to console her spirit, and as a sacrifice to the manes of the
dead, the tea-houses who had been friendly with her hung up before
their doors lanterns which were called “_kiriko-dōrō_” (a lantern of
a cubical form with its corners squared). This illumination attracted
considerable attention and drew many guests, so “business” flourished
exceedingly that season, and accordingly in the following year (1716)
the practice was followed by all the tea-houses. About that time an
expert in fancy hand-work, named Ha-ryū, made a prettily contrived
fantastic lantern which he gave to a certain tea-house, and this
drew a large number of interested and admiring spectators. In this
connection a story is told to the effect that on the 4th day of the
7th month of the 1st year of Gembun (10th August, 1736) a teacher of
the _samisen_, named Kayei, who lived in Ageya-chō, held a service in
his house in memory of Tamagiku and at the same time a new tune named
_midzu-chōshi_ (水調子) was played. In the room were hung a number of
lanterns bearing the _kaimyō_ (posthumous name) of Tamagiku, and every
guest was presented with one on his return home. As it was considered
as unlucky to have lanterns inside the houses bearing the Buddhistic
name of a dead person they were hung up outside the tea-houses.
[It is said that on the lower part of these lanterns lines of a
green colour were traced.] A request to be allowed to exhibit these
lanterns was preferred by the tea-houses to the monthly managers of
the Yoshiwara, but as the latter refused their consent the tea-house
keepers carried out the idea without obtaining permission. Dōjo of
Yedo-chō, and Tamaya Dōkaku, who were then monthly managers, were
greatly enraged at the independent action of the tea-house-keepers,
and struck down the lanterns of Sumiyoshi-ya and three or four
other establishments. The matter was however settled up quite amicably
by the tea-house-keepers apologizing, and the authorities granting
permission, so after the next year the lantern show commenced and has
been continued down to this very day, though the religious aspect of
the observance has been completely lost sight of. In former days it
seems that besides the lantern show, acting by boys, circus-feats,
juggling, etc., took place, but they ceased later. In some years the
lanterns displayed have been very fine artistic creations, bearing
pictures painted by well-known painters; and anyone who saw the
Yoshiwara between the middle of July and the middle of August 1886 will
never forget the historical drawings of Hōnen and Eitaku then exhibited
on the lanterns.
[Illustration: Night scene in the Yoshiwara during the “_Feast of
Lanterns_”]
“Niwaka” Dancing.
The performance of “_Niwaka_” dancing is considered to be one of the
most interesting features in the life of the Yoshiwara. It consists of
a kind of dramatic representation given by the professional buffoons
(_hōkan_) and singing girls (_geisha_) of the quarter, and it takes
place about August or September each year. When this comic dance takes
place the performers visit all the tea-houses giving an exhibition of
their buffoonery, and it is said that this entertainment is given in
return for the patronage all the members of the troupe usually receive
from _chaya_ (tea-houses) and _kashi-zashiki_ (brothels). During the
continuance of the “_Niwaka_” dancing wooden railings are put up on
both sides of the Naka-no-chō for the purpose of demarkation, and
in front of the tea-houses lanterns shaped like _asagao_ (“morning
glory”), bearing the respective house names, are hung up and lit.
On either side of the _Ō-mon_ are placed a pair of very large
lanterns (_takahari-chōchin_) on which are written the letters 全盛遊
(_Zensei-asobi_ = Magnificent Entertainment). To carry out this dance
involves considerable trouble and much preparation, and the very first
step which has to be taken is to obtain the permission of the police
authorities. After official sanction has been granted preparations are
commenced, and the _hōkan_ and _geisha_ all repair to the manager’s
office where they draw lots as to whether they shall take part in the
first fifteen days’ performances or the second fifteen days’ dances.
Those older _geisha_ who undertake the “lion” dancing and “_kiyari_”
songs draw special lots for that purpose, but unless a _geisha_ is a
masculine looking woman she will not be admitted into this company, and
admittance is earnestly desired by many of the professional singers who
compete strenuously for the honour. The performance of “lion” dancing
and “_kiyari_” singing is limited to the first half month, and the
geisha who are picked out for this coveted company are experts in their
line: those who are new to the quarter give way to their predecessors
in order of precedence. When their order has been fixed, by means of
lots, a dozen women are formed into a troupe, and for ten days the
“_hiyari_” is practiced from morning till evening. For many years a man
named “Kichi” (who was also known in the Yoshiwara by the nick-name
of _Chigeinei no Kichi San_) acted as a teacher of the “_Kiyari_”
songs, but at present one of his pupils, named Chō is undertaking the
task of tuition. The mode of training is for the first half dozen
_geisha_ to start a song and the remaining half dozen to follow them
under the direction of the teacher.
[Illustration:
仁和哥之圖 The “_Niwaka-odori_” (Dance) in the Kiōwa period
(1801 to 1803).
(_After the Picture by Kitagawa Utamaro._)]
The dancers of dramatic representations also place themselves under a
teacher and train continuously for ten days. It is agreed between the
performers that during the training period they will not respond to the
invitation of any guest, and no one has ever been found to infringe
this rule. It is also a custom—if we may be allowed to mention a mere
gastronomic detail—for the performers to eat _unagi no domburi-meshi_
(boiled rice and pieces of roasted eels served up in a deep bowl) at
tiffin every day during of the period of rehearsal.
The dramatic representations played by the company include several
new pieces, and the training of the dancers is confided to Hanayanagi
Jūsuke. This man was born and brought up in the Yoshiwara, and so the
duty of directing the dances is entrusted to him. It appears that new
pieces are specially written by playwrights at the request of Jūsuke,
and that all such productions are of a comic nature, because the
_hōkan_ generally aim at exciting the hearty laughter of spectators
by means of droll extravaganzas. When the training is finished a
grand dress-rehearsal is given in one of the tea-houses, and on this
occasion the proper costumes are worn. This dress-rehearsal is known
as _nari-mono-iri_ (鳴物入り). Then what is known as _kwai-sho-iri_ (會所入り)
takes place in the _kensa-jō_ (檢查塲 = inspecting office), each person
entering the room in the order determined by drawing lots. The singers
and musicians who participate in the meeting are all professionals. The
_shishi-ren_ (獅子連 = “lion” party) goes into the office first, as it is
considered the most important part of the company. At this stage the
police make an examination of the persons in the building, as nobody is
allowed to enter it unless possessed of a special ticket.
On the first day of the “_niwaka_” dancing the _kwaisho_ (office)
sends out people with a drum (_shitaku-daiko_), which is beaten as
they perambulate the Naka-no-chō, to announce the performance. If the
weather be rainy, or the roads muddy and slushy, no performance takes
place; when this is decided no drum is beaten and no lantern is hung
before the _Ō-mon_ (great gateway). The “lion” party (_shishi-ren_) and
the _niwaka no ya-tai_ (a kind of car, fixed up as a stage, on which
the “_niwaka_” dance is performed) are started out from a certain fixed
point at 7 o’clock in the evening, and go up and down the Naka-no-chō
every night: if the car and the party go up the left side of the street
this evening they will come down the opposite side to-morrow evening,
and the show ends at 11 o’clock each night, when its members are
recalled to the office. A “_niwaka_” stage-car consists of a wheeled
stage about 18 feet square and proportionately high, and it is so
made as to be separated into two sections, each of which is fitted
with its own wheels. The stage is fitted up like a regular theatre,
provided with scenery painted on silk and paper, and lighted by means
of lanterns.
This stage-car is brought to a standstill just between two tea-houses
in order that the performance may be equally well seen by both from
their upper floors: the idea of placing the stage in such a position
was originated by dancing-master Hanayanagi, whose great experience
taught him that this scheme was the best for everybody concerned. Next
come the _geisha_ who play the _samisen_, riding in a car fitted with
benches made to accommodate them.
To the left and right of the benches uprights are placed and covered
with lattice-work _shōji_, curtains of white and red colours are
stretched across the top, and the whole car is lighted by means of
three lanterns.
Then follows a _soko-nuke ya-tai_ (a bottomless car), which is a kind
of square paper-box, without cover or bottom, in front of which is
hung a _yoko-naga no andō_ (a horizontal lantern) on which is written
the names of players, singers, dancers, and the name of the owner of
the car. Inside this car are placed the _hayashi-kata_ (orchestra).
The coolies who drag these cars from place to place are usually
hired (through a contractor) in the vicinity of Matsuba-chō, Asakusa
district, and are paid daily by the owner of the cars. The costumes of
the _geisha_ who play the _samisen_ are of grey crêpe (dyed with their
crests) trimmed at the bottom of the skirt with scarlet crêpe, white
collars, black satin _obi_, and white socks. Their coiffure is in the
_Shimada_ style, and it is kept in place by a hair-pin decorated with
the design of _susuki_ grass.
The older _geisha_ attire themselves even more strikingly than the
younger girls, and make use of loud colours—such as blue and scarlet—in
their costumes, thus attracting considerable attention by the
incongruity displayed. The male players and singers wear blue cotton
clothes dyed with their respective crests. The _geisha_ who take part
in the “_kiyari_” dress their hair after the manner of the top-knot
style of men, intentionally spreading out their forelocks, and the
whole get-up is like that of a _teko-mai_ dancer. They wear three or
even five _jiban_ (loose shirts) a _hara-gake_ (a cloth shield for the
abdomen) and an upper garment called a Yoshiwara-gaku. The right arm
and shoulder is thrust out of the _jiban_, on which latter an elaborate
design is usually dyed.
The girls all compete among each other in the matter of dress, and
the result is that some exquisite patterns are adopted. They wear
fine leggings, blue cotton _tabi_ (socks) and straw sandals, while
across their breasts, depending from the right shoulder, dangle silver
chains to which are attached little _kake-mamori_ (hanging charms): in
their hands they hold fans (with black lacquered frames) on which are
painted peony flowers, and besides these they carry _teppō-chōchin_
(cylindrical lanterns) on which some of the girls boldly and
unblushingly inscribe the names of their paramours. This custom was
started in 1894 and led to a good deal of amusement, as their friends
solemnly imposed upon both the girls and their sweethearts a mock
fine of ten _sen_ as a punishment for publicly advertising such love
affairs! Thus equipped, they sing the _kiyari_ to the sound of the drum
as they move on. A drummer, a wooden-block striker, a drum-carrier,
and another person who carries the “lion’s head” mask, accompany the
party. When one _kiyari_ song is finished the leader lifts his fan as
a signal for the _hyōshigi_ to be struck, and the company moves on
to the next house after shouting a farewell “_o yaka-mashū_” (“we’ve
troubled you greatly”). The beginning and finish of the female, as well
as the male _niwaka_, is announced by the striking of _hyōshigi_. In
former times what was called the “_amefuri niwaka_” (_niwaka_ after
rain) was in vogue. After the rain had cleared, men went about the
tea-houses performing impromptu farces which often elicited applause
by the ready wit displayed, but this practice has now ceased. About 10
o’clock an announcement is made by the _kwaisho_ people that a recess
will be taken, and forthwith all the members of the company stop to
drink tea which is provided by the house in front of which they
may happen to be: on this occasion they also eat such food as may have
been sent as presents by intimate friends among the _yūjo_ or their
guests. During the period of these performances the company is open to
engagement only in the day-time, and after 11 o’clock at night, as at
the latter hour the public entertainment is finished. When the company
receives a notice of engagement from a tea-house, the paper on which
such notice is written is fastened on to the hair-pin of the leading
geisha after being numbered, and after 11 o’clock the whole troupe go
around to the tea-houses by whom they were invited in the order of the
arrival of such notices. Needless to say, the company is elated in
proportion to the number of these notice-papers. In ancient days the
entertainments were often kept up through the night owing to the large
number of engagements made.
[Illustration: _Niwaka-odori_ procession passing by a tea-house.]
On the first night of the _niwaka_ the company’s engagements are
generally arranged in advance, for the reason that it is considered
a disgrace to have no such appointments on the opening day. When
the company obtains tips and gratuities from guests in tea-houses,
etc., all such monies are divided among the persons taking part in
the entertainment, not forgetting even the coolies. The engagement
fees of the _niwaka_ company are charged at the rate of 12-1⁄2 _sen_
per _geisha_ per _joss-stick_ (_ip-pon_) for each guest, and a tip
of 20 _sen_ each is also expected. Of course these rates are for
first-class _geisha_ only, and the fees of other inferior _artistes_
are proportionately lower.
Strictly speaking, the company should go through its performances for
the benefit of each contributing guest separately, but as a matter
of fact the more convenient method of performing before several
guests collectively is adopted. The _niwaka_ entails considerable
expense on the _geisha_ taking part, and the means of defraying it are
too often raised by yielding to the immoral desires of guests who are
positively repulsive to them in every respect.
During the performance of the _niwaka_, every tea-house engages firemen
to attend to miscellaneous duties, and the _kwaisho_ people wearing
_hakama_ (bifurcated petticoat), and carrying lanterns, constantly
go round through the streets to see if everything is in order. The
“_wakai-mono_” (“young-men”) of the Naka-no-chō are also out on
duty with lanterns (called _daihari_), and iron staffs to prevent
overcrowding by the spectators. The _dai-hari_ carried by these men are
placed in front of the tea-house by which the company has been engaged
while the dancing is being performed: these great lanterns are intended
as signals.
All the expenses connected with the _niwaka_ are defrayed by the
brothels, tea-houses, etc.
Originally _niwaka_ meant an impromptu farce, but about the era of
Tenna (1681–1683) the character was changed though the meaning remains
practically the same. The “Kiyū Shōran (嬉遊笑覽) says that the _niwaka_
seems to be an imitation of the Gion festival of Kyōto, and the
festival cars (_nerimono_) of Shimabara and Sumiyoshi. It originated
in the festival of the Kurosuke Inari which took place in the 8th
month of the 19th year of Kyōhō (August 1734) on the occasion of that
deity obtaining the title of _shō-ichi-i_ (first rank.) Owing to
this fact, until recently, whenever a _niwaka_ dance took place, a
bamboo tree, bearing leaves, was set up on either side of the _Ō-mon_
(gateway) and a straw rope was hung across in order to sanctify
the place within: this practice has now ceased. From the 1st of this
month the festival of the Kurosuke Inari at Suidō-jiri took place,
festival cars were drawn about the streets, and the Yoshiwara was much
crowded by sight-seers. The custom of erecting bamboos at the _Ō-mon_
(above referred to) appears to have been in vogue until the Bunkwa
era (1804–1817). Again, from the 1st day of the 8th month the _yūjo_
who were proficient in singing and dancing performed _niwaka_ dances
for the entertainment of the public every fine day for thirty days.
The origin of this dance is stated to have been the visit of young
_yūjo_ to the Mazaki Tenjin in the 4th year of Meiwa (1767) but anyway,
judging from the style of the present _niwaka_, the dancing in the
Meiwa era appears to have been the origin of this dance.
Mention is made in the “_Kwagai Yenkaku-shi_” (花街沿革誌) that in a picture
of _niwaka_ dancing drawn in the era of Meiwa (1764–1771) was written:—
“Ōtsuye shosagoto hayashi kata, ō-deki, ō-deki!” (Dramatic
representation of the _ō-tsuye_ musicians, splendid, splendid!). A
drawing of a car-stage and of an elevated _shōji_ was depicted, and
around this wistaria flowers were hung: inside were the musicians.
The _geisha_ O Ishi, O Kume, O Yuki, and O Nami, who wore clothes
with long sleeves, and _hōkamuri_ (handkerchief covering the head
and cheeks) played the _samisen_. _Yūjo_ Taneko (of Shinkana-ya) and
Masuno (of Ō-Ebisuya) also in long-sleeved clothes and lacquered
hats danced bearing wistaria flowers in their hands. Next there were
lantern bearers of Kyōmachi It-chōme which were acted by more than
ten _kamuro_. The five leading _yūjo_ were dressed in five-fold robes
and red _hakama_, wore _yōraku_ (crowns) upon their heads and held
_hishaku_ (sceptres) made of _hinoki_ wood: in their hands. As the
women walked along they were kept carefully covered by means of a
special umbrella held over their heads from behind.
In the programmes of _niwaka_ dances given in the Kyōwa era,
(1801–1803) as well as in the pictures of the Bunkwa era
(1854–1859) are to be seen men playing a farce before the railings of
a brothel. At that period no stage car was used, but the pantomimic
dance was performed in the open, the players being made visible by
means of candles placed on stands in front of the persons taking part
in the performance. The players appear to have been gifted with a
considerable fund of ready wit and humour, as nearly every word and
gesture excited roars of laughter from the lookers-on. The latter day
_niwaka_ seems to have been derived from the dancing of _yūjo_. The
famous “lion-dancing” and _kiyari_ songs which form the chief feature
of the _niwaka_, were originated during the Ansei era (1854–1859) by
a _geisha_ named O Ichi, who was very popular in her day by reason of
her being an expert in these matters. It is stated that in the year
1898 the _niwaka_ scheme was abandoned owing perhaps to the fact that
the result to the Yoshiwara was not commensurate with the large outlay
involved in getting up the entertainments, but on making a careful
investigation we find that the police authorities declined to sanction
the dance even for half the usual time. The proprietor of one of the
largest establishments states that he and his _confrères_ are greatly
concerned about this attempt to abolish such an old custom, and that
a supreme effort will be made to obtain the sanction of the police to
produce the _niwaka_ as usual. His argument was that such an exhibition
is not inimical to the morals of the public, and that persons who visit
the Yoshiwara go there with the express purpose of amusing themselves
with such spectacles!
Tori-no-machi.
(_The fête of Ōtori no Kami._)
On the days of the fowl, in the month of November every year, the
festival of _Ōtori-no-kami_ is celebrated at the various places in
Tōkyō where the “Eagle” shrines are located. On these occasions great
crowds of people visit the Yoshiwara, as the most popular “market” is
held in Ryūsenji-machi, Asakusa Tambo, close to the quarter.
[Illustration: Crowds Visiting the “_Tori-no-machi_.”]
These are the red-letter days for brothels and their inmates, and, as
a rule, nearly all the _yūjo_ are engaged by previous arrangement with
their guests. It is considered rather a disgrace to _yūjo_ to remain
long on exhibition in their cages on such holidays. Popular women give
ocular demonstration of their popularity by the means of _tsumi-yagu_
and _geisha_ usually obtain promises of engagement from some guests
beforehand.
The three gates besides the Ō-mon, which are kept shut except on the
_Tori-no-machi_ days and in case of fire or other emergency, are thrown
open from early morning for the admission of the general public.
The traders erect their stalls at the back of the Examination House
(_kensa-ba_) as far as Suidō-jiri, and _yūjo_ appear in the cages even
in the day-time. At night the bustle and confusion of the Yoshiwara
becomes intensified.
Tipsy rascals “three sheets in the wind” stagger along the streets
or swarm in front of the brothels, thickly bawling out unseemly
ditties, while some _yūjo_ may be heard calling to would-be guests
in their broad _patois_. The great crowd surges hither and thither
like the eddies of the ocean, and the confusion well-nigh defies
description; but, paramount above all, here, there, and everywhere is
the ubiquitous blue-coated little policeman with sword, spectacles,
lantern, and note-book, uttering his warning cry of “_koréya! koréya_”
(“that’ll do now:—move on”) and overawing the _profanum vulgus_ with
the majesty of the law visible and incarnate.
Yoshiwara Nana-fushigi.
(_The Seven Mysteries of the Yoshiwara._)
Contrary to the “Seven mysteries” of Echigo, Suwa, Honjō, etc., all of
which consist of weird ghost stories or really inexplicable mysteries,
the “_nana-fushigi_” of the Yoshiwara are most innocent and amusing in
their nature: they are as follows:—
1.—Though the gateway, or great entrance door, is called the Ō-mon
(great gate) there is no _genkwan_ (entrance porch) within.
2.—Though the moat around is called a creek (_kashi_) there are no
boats visible.
3.—Though one of the wards is called _Sumi-chō_ (corner “ward” or
“street”) it has no corner.
4.—Though the introducing houses are called “_cha-ya_” (tea-houses)
yet they sell no tea.
5.—Though the servants in the brothels are called “_shinzō_” (young
woman) most of them are old women.
6.—Among the _wakaimono_ (literally “_young men_,” but here meaning
“men-servants”) are many bald-headed individuals.
7.—Although the old women in the brothels, are called _yarite_
(遣り手 = “givers”) they really give nothing but take all they can
get.
Such are the “Seven mysteries” of the Yoshiwara, but the greatest
mystery appears to be the fact that they should have been accepted as
mysteries at all.
Yoshiwara no Kyo-ka.
(_Comic Poetry._)
Among the many witty and epigrammatic stanzas which have been composed
by well-known literary men, the following have been selected as
interesting and characteristic:—
“The sight of snowy evening at the Ō-mon is so beautiful that no man
is fool enough to leave the Yoshiwara satiated.” (_Yomo Akara_).
“On a calm Spring evening, when the women of the quarter enter their
cages, it seems as if flowers were being scattered in the Yoshiwara
by the bell announcing night fall. (_Yomo Akara_).
“Though visitors may change, the _mikaeri yanagi_ (looking-back willow
tree) is ever green, and flowers perennially scarlet.” (_Kyokutei
Bakin_).
“Even without asking the question it is known that the _miyako-dori_
(“oyster-catcher”) lives in the Sumida river: the person I long for
lives in the Yoshiwara.” (_Santō Kyōzan_).
“If the wind could be kept out by shutting the _Ō-mon_ (great
gateway) the expenditure of a thousand _ryō_ would not be begrudged
for the sake of the flowers.” (_Magao_).
“When one is intoxicated the same thing is repeated—‘the flowers are
blooming in the Yoshiwara: in the Yoshiwara the flowers are
blooming’.” (_Shoku Sanjin_).
“In the Yoshiwara a visitor’s life is prolonged by means of the bells
of “_hiké yotsu_,” which is struck later by two hours than the bells
of the outside world.” (_Shoji Nariyuki_).
“All the guests being tethered to the blossom-laden cherry-trees are
led into the Yoshiwara as horses are put into harness together.”
(_Moto no Mokuami_).
“It is the season of flowers and Yoshino will find itself outrivalled
by the “_oiran_” blossoms of the Yoshiwara.” (_Tegara Okamochi_).
Yoshiwara Kwai-rok-ki.
(_Chronology of fire disasters in the Yoshiwara._)
In the 12th month of the 7th year of Kwan-ei (January 1631) fire broke
out at Hatchōbori and burnt out Negichō, Hasegawa-chō, and Tomizawa-chō.
On the 14th day of the 12th month of the second year of Shōhō (30th
January, 1646), after a lapse of 16 years, fire broke out at Owari-chō,
and the Yoshiwara was burnt. The progress of the flames was checked
at Hasegawa-chō, at Ōmon-dori. This fire was known as the “_Sakueymon
kwaji_.”
In the 9th month of the 3rd year of Sho-ō (October 1654), after the
lapse of 19 years, fire broke out at Kirigashi and the Moto Yoshiwara
was burnt.
On the 18th day of the 1st month of the 3rd year of Meireki (2nd March,
1857), after the lapse of 13 years (something seems to be wrong in this
calculation?) fire broke out in the Hommyō-ji temple, Maruyama, Hongo,
and the greater portion of Yedo, including the Moto Yoshiwara, was
burnt.
The following are the disasters which have occurred since the removal
of the Yoshiwara to the present site:—
[Illustration: A Fire in the Yoshiwara.]
On the 7th day of the 12th month of the 4th year of Empō (10th
January, 1677), after an interval of twenty years, fire broke out in a
bath-house, kept by a man named Ichibei, at Kyō-machi-gashi, and the
Yoshiwara was burnt.
On the 27th day of the 11th month of the 5th year of Empō (21st
December, 1677) fire broke out in the house of Hanaya Ichibei, Yedo-chō
_ni-chō-me_, and part of the street where the fire originated was
burnt. Rain was falling heavily at the time.
In the 4th month of the 5th year of Meiwa (May 1768) fire broke out in
the brothel at Yedo-chō kept by Yotsumeya Zentarō, and the Yoshiwara
was burnt down after an interval of ninety-two years.
On the 23rd day of the 4th month of the 8th year of Meiwa, (5th June,
1771) fire broke out in the house of Umeya Ihei and the Yoshiwara was
burnt after an interval of four years.
On the 29th day of the 2nd month of the 9th year of Meiwa (1st April,
1772) fire broke out in the Daitan-ji temple, Gyonin-zaka, Meguro, and
the Yoshiwara was burnt after an interval of two years.
On the 30th day of the 9th month of the 1st year of Temmei (15th
November, 1781) fire broke out in the houses of Aburaya Yasubei,
Fushimi-chō, and Yedo-chō _ni-chō-me_ of the Yoshiwara was burnt after
an interval of ten years. One account says that this fire originated
in the Kadaya, Fushimi-chō, and that eleven houses in Yedo-chō
_ni-chō-me_, ten houses Naka-no-chō, and ten houses at Fushimi-chō were
burnt.
On the 16th day of the 4th month of the 4th year of Temmei (3rd June,
1784) fire broke out in the house of Maruebi-ya, and the Yoshiwara was
burnt after an interval of four years.
On the 9th day of the 11th month of the 7th year of Temmei (18th
December, 1787) fire broke out in the tea-house kept by Gorobei,
Sumichō, and the Yoshiwara was burnt after an interval of four years.
On the 2nd day of the 4th month of the 6th year of Kwansei (1st May,
1794) fire broke out either in the brothel known as “Choji-ya” or in
the house of Juzo (they stood close together) and the Yoshiwara was
burnt after an interval of eight years. Tamachi (in Asakusa) was also
burnt by this fire, sparks carried by the wind having ignited the
residences there.
On the 23rd day of the 2nd month of the 12th year of Kwansei (18th
March, 1800) fire broke out in the house of a farmer named Tsunasa
Jinyemon, of Ryūsenji-mura, Shitaya district, and the Yoshiwara was
burnt after an interval of seven years.
On the 21st day of the 11th month of the 9th year of Bunkwa (24th
December, 1812) fire broke out in the compound of sheds belonging to
Zenshichi (chief of beggars), and the Yoshiwara was burnt after an
interval of thirteen years. This fire spread as far as Yama-no-shiku,
and Tamachi (_ni-chō-me_), Asakusa.
On the 3rd day of the 5th month of the 13th year of Bunkwa (29th May,
1816) fire broke out in an unoccupied house owned by Shin-ebi-ya
Kichisuké, (a brothel-keeper) at Kyō-machi _it-chō-me_, and the
Yoshiwara was burnt after an interval of five years. The office of
Sahei (a _nanushi_) at Yedo-chō _ni-chō-me_ escaped the general
holocaust. This conflagration spread as far as Ryūsenji-machi, Asakusa.
On the 26th day of the 1st month of the 6th year of Tempō (23rd
February, 1835) fire broke out in the brothel kept by Matsugoro,
Sumichō, and the Yoshiwara was burnt after an interval of twelve years.
On the 19th day of the 10th month of the 8th year of Tempō (16th
November 1837) fire broke out in the house of Gentaro (who was the
father and guardian of the proprietress of a small brothel at Yedo-chō
_ni-chō-me_) and the Yoshiwara was burnt after an interval of three
years. The office of _nanushi_ Nizayemon, at Yedo-chō _it-chō-me_, and
the small houses in the back alleys, were not destroyed.
On the 5th day of the 12th month of the 2nd year of Kōkwa (2nd January,
1846) fire broke out in a brothel kept by Kawatsuya Tetsugoro, at
Kyō-machi _ni-chō-me_, and the Yoshiwara was burnt after an interval
of nine years. The office of _Nanushi_ Sahei at Yedo-chō, _ni-chō-me_,
that of _nanushi_ Niyemon at Yedo-chō _it-chō-me_, and that of
_nanushi_ Rokuroyemon at Kyō-machi _it-chō-me_, however, were not
destroyed.
On the 2nd day of the 10th month of the 2nd year of Ansei (11th
November, 1855) a destructive earthquake occurred, and all the houses
in the Yoshiwara were demolished by shaking or burning after an
interval of eleven years. Numerous lives were lost.
On the 29th day of the 9th month of the 1st year of Manen (12th
November, 1860) fire broke out in the house of Kinoji-ya Tetsujirō
(at the _kashi_ in Yedo-chō _ni-chō-me_) and the Yoshiwara was burnt
after an interval of six years. The house of _nanushi_ Jinshiro, at
Kyō-machi, _it-chō-me_, was saved.
On the 14th day of the 11th month of the 2nd year of Bunkyū (3rd
January, 1863) fire broke out in the house of Shimidzu-ya Seisuké
(Kyō-machi, _it-chō-me_) and the Yoshiwara was burnt after an interval
of three years. The fire spread to Gojikken-machi. The houses of
_nanushi_ Jinshiro and of Kaneko Hambei (at Kyō-machi _it-chō-me_) were
saved.
On the 26th day of the 1st month of the 1st year of Genji (5th
March, 1864), after an interval of three years, fire broke out in
the store-house of a brothel (Ōguchi-ya Bunzayemon) of Yedo-chō
_it-chō-me_, and all the houses in that street were burnt. The brothels
on the creek-side of Ageya-chō were saved, and also some houses in
Kyōmachi _it-chō-me_. On the 23rd day of the 9th month of the same year
(23rd October, 1864) fire broke out in a tobacconist’s shop in Yedo-chō
_it-chō-me_, and six houses were destroyed.
On the 11th day of the 11th month of the 2nd year of Kei-ō (17th
December, 1866) after a lapse of three years, fire broke out in a small
brothel named Ō-Masu-ya (in Yedo-chō _it-chō-me_) and a portion of the
Yoshiwara was burnt.
On the 28th day of the 5th month of the 4th year of Meiji (28th May,
1871) fire broke out in a paper-dealer’s store, named Sanya Matsugoro,
(in Kita Fushimi-chō) and the greater part of the Yoshiwara was burnt.
The houses along the creek at Yedo-chō _it-chō-me_, Ageya-chō, and
Kyōmachi _it-chō-me_ were saved, as was also the “_Kado-ebi_.”
On the 11th day of the 11th month of the 6th year of Meiji (11th
November, 1873) fire broke out in the house occupied by Kobayashi-ya
Rui, No. 25 Kyō-machi _ni-chō-me_, and this street, and Yedo-chō
_ni-chō-me_, were completely demolished. In the vicinity of the _Ō-mon_
two tea-houses (the “Ōmori-ya” and “Yagata-ya”) only were saved. Some
houses in Tamachi _ni-chō-me_, Yama-no-shiku, and Shōden Yokochō, were
burnt in consequence of being set on fire by flying sparks.
On the 12th day of the 12th month of the 8th year of Meiji, at noon
(12th December, 1875) fire broke out in the kitchen of the house
of Nakamura Chōbei (Sano Tsuchi-ya) No. 25, Yedo-chō, _it-chō-me_,
and in consequence Yedo-chō, _it-chō-me_ and _ni-chō-me_, Sumichō,
Ageya-machi, and Kyō-machi _it-chō-me_ and _ni-chō-me_ were burnt.
Besides these the fire destroyed some houses in other parts of the
Yoshiwara.
On the 2nd day of the 1st month of the 11th year of Meiji (2nd January,
1878) after an interval of four years, fire broke out in the house of
Nakamura Chōbei (Iseroku) Yedo-chō _it-chō-me_, but it was extinguished
after consuming the building in which it originated. The cause of fire
was kerosene oil.
On the 23rd day of the 1st month of the 24th year of Meiji (23rd
January, 1891), after an interval of seventeen years, fire broke out
in the house of Kobayashi Kyūtarō (“Kobayashi-rō”) No. 19, Kyōmachi
_ni-chō-me_, and at Sumi-chō; forty-six houses were completely, and
five partially, burnt. At Kyōmachi _ni-chō-me_ thirteen houses were
completely, and two partially, burnt. At Yedo-chō _ni-chō-me_ two
houses were completely, and nine partially, destroyed.
On the 4th day of the 4th month of the 26th year of Meiji (13th
April, 1893) at 7.30 p.m. fire broke out in the third story of Irita
Yoshitarō (“Baiman-rō”) No. 31, Ageya-chō, and some forty-five houses
were completely, and nine partially, burnt at Ageya-chō, Yedo-chō
_it-chō-me_, and Kyōmachi _it-chō-me_.
The latest destructive conflagration in the Yoshiwara occurred at 4.30
a.m. on March 15th, 1896. It was started at the rear of the tea-houses
_Shin Kirihan_ and _Kanetama-ya_ (which were situated on the border
of Yedo-chō _ni-chō-me_ and Sumi-chō) and quickly spread to
Yedo-chō _ni-chō-me_, Naka-no-chō, Sumi-chō, and even to the outside
of the _Ō-mon_. Altogether 139 houses were destroyed. In this fire a
_yūjo_ named Koiginu, 24 years of age, belonging to the “Kawachi-rō”
(Sumi-chō) was burnt to death, her way of escape having been cut off by
smoke.
A man-servant of the “Tanaka-rō” was also asphyxiated to death on this
occasion.
Furi-sodé Kwaji.
(_The Great Fire of Meireki._)
The following interesting legend is an almost literal translation of a
popular Japanese tradition.
It seems that on the 18th day of the 1st month of the 3rd year of
Meireki (2nd March, 1657), a fire broke out in the Honinyō-ji (temple)
at Maru-yama in Hongo, which raged through the City of Edo during three
days and three nights, burning everything before it. The number of
persons who were burnt to death was over 108,000 souls, and tradition
says that from ancient times to the present day no fire has broken
out which can be even compared to this conflagration, and indeed that
it is impossible to express in words the extent of this terrible and
sad calamity. On enquiring about the origin of the fire, it appears
that at the end of the Spring in the 2nd year of Meireki, when the
cherry blossoms were blooming, the daughter of a certain Hatamoto
who resided in the neighbourhood of Banchō, was taken in company
with some neighbours to see the flowers at Ueno. At that time the
young page of a certain temple was passing by the Sam-mai-bashi
(bridge) at Hirokōji in Ueno, and was seen by the young lady who was
going in an opposite direction. The youthful page was a fine handsome
young follow, and the girl, on glancing carelessly at him, noticed
he was a youth of about sixteen or seventeen years of age, and was
wearing a black _haori_ (a kind a loose overcoat) with long sleeves
(_furi-sodé_) on which was dyed a pattern composed of water-wheels (a
favorite Japanese design). His _hakama_ (loose trousers) were made
of striped brown material, and as he walked along with his swords
(the scabbards of which were decorated with a flower design) thrust
straight down in his belt, he looked like the ancient pictures of
Narihira, or of Minamoto-no-Mitsu-uji, when they were children, at the
time of their first admittance to the rank of knighthood. Then she
wondered how anyone could surpass this youth, for his lips were red
as the reddest of blossoms, his eyebrows arched and beautiful, his
hair black and glossy, and his head in front showed the signs of the
rite of _gembuku_, while his front hair was parted in the fashion of
those times: and altogether he looked very prepossessing with his fair
complexion which laughed at the driven snow, and his fresh appearance
which seemed to be striving to emulate the beauty and fragrance of
the fullblown flowers. As he passed the young lady, the long sleeves
of his garment brushed against her dress, her heart was spontaneously
affected, and she fell in love with him after a single glance.
Although they were going in opposite directions, she could not help
glancing round and wondering whether it was a man or a god that she
had seen, and, as she gazed after him, her first love developed like
the blossoming of the buds of the cherry flowers. However, as she had
persons with her, she went on with them, although she was loath to
be parted from her lover. Then she went on to Ueno with her friends,
but, although she looked at the cherry-blossoms and sat there amongst
them on the matting laid out for the accommodation of guests, the
form of the youth she had seen kept dancing before her eyes, and the
laughter and gaiety of the crowds assembled became very annoying to her
as she sat wrapped in gloomy thought.
That day she returned home and thought—“I wonder who he can be? I know
not where he lives and I have no means of tracing him. However much
I may pine for my loved one my power of will is not powerful enough
to reach to him and thus fulfil my desires. I think myself that I
am foolish, but although I strive to banish my thoughts as vain and
silly, yet I cannot for a moment relieve my heart of its trouble.” Thus
time passed wearily for her, and the days and months flew by until
it had become the season of the summer rains, with its intermittent
showers. Her thoughts were melancholy and she did not even have her
hair dressed, but allowed it to fall dishevelled over her shoulders.
She had been taken sick sometime previously, and therefore her parents
were very anxious about her. One day her father, addressing her
mother, said—“On thinking over the matter of our daughter’s illness
very carefully, she drinks no medicine and she dislikes the doctor,
and there is something about it which I cannot understand. From what
I heard accidentally the other day from a neighbour, it seems that at
the time of viewing the cherry-blossoms our daughter met some young
gentleman at Mihashi and she cannot forget about him. I don’t know who
he was, but it seems that he was a very handsome youth. I have heard
that at that time she spoke about the young man to her friends,
but I did not think anything about it, and yet it appears that our
daughter returned home and from that time she has been moping and
miserable. Lately her sickness has increased, and become very serious,
and she is wasting away and looks wretched. If you will quietly sound
her on the subject she will probably tell you the facts of the case.”
Being thus addressed the wife spoke quietly with her daughter that
evening about the matter, but she only buried her face in her pillow
and made no reply. In a short time however, she thought that after
all now things had come to such a pass there was no use in concealing
anything further, so she told everything saying—“At the time of
flower-seeing this Spring—&c., &c.,—.” Then she went on to confess the
whole matter to her mother, while her eyes were streaming with tears,
and as she cried and fretted in a half apologetic manner she looked
very miserable and pitiful, and she finished by imploring her mother,
with averted face, not to laugh at her. Then the mother drew nearer
to her daughter and asked her in a low gentle voice—“Do you know the
name of the young man and his residence? Have you heard something about
it?” But her daughter raised her head and replied—“I had no means
of knowing his name or residence. The only thing I remember is that
he had on a garment on the sleeves of which there was a pattern, and
I am thinking lovingly about him.” The mother nodded and said—“Well
then, if I have a dress dyed with the pattern which you then saw, and
place it at the side of your pillow, it may give you some comfort
and relief.” On hearing this the daughter seemed very happy, and the
parents enquired minutely about the pattern and the colouring of
the water-wheel design, then they consulted together and calling in
their regular dyer made no agreement about the price but simply hurried
him up saying “Please be quick and dye this at once.” So, without any
waste of time the material was very prettily dyed, and they hurried up
the tailor likewise, making him work night and day until the garment
was finished. They were indulgent parents and had reared their child
very tenderly, so that this trouble caused their hearts to become as
black as the black _ko-sodé_ they had ordered. The pattern was composed
of water-wheels in the midst of waves, and they revolved and revolved
until at last they caused disaster and calamity to the world. The
parents brought this garment quickly and showed it to their daughter,
who, when she had seen it said “Indeed that’s it, that’s it!” and
feeling as if she had ascended into Paradise, she clasped the dress in
her arms and appeared like a demented creature. Then after four or five
days had elapsed her illness became more and more severe, and she soon
expired, still clasping the _ko-sodé_ to her bosom: and as she thus
lay in death, holding this garment in her arms, the sight was indeed a
most pitiable and touching one. Well, after her death the parents had
to part with their child, and the funeral took place with the usual
rites in the burial ground of the “Hommyō-ji” (temple) in the district
of Hongo. As to the dyed _ko-sodé_, as the poor girl had loved it so
dearly, they put it on her coffin as a _kakemuku_ (pall) and sent it
forth to the temple. Sometime afterwards, the priests of the Hommyō-ji
sold the garment to their regular second-hand clothing store, and
during the ninth month of the same year this figured dress was again
brought to the temple covering a coffin as a _kakemuku_, but the
priests paid no particular attention to it, and again sold it off to
the second-hand clothing store as usual. Again the identical figured
garb was sent in as a _kakemuku_ (pall) from a certain parishioner at
daybreak on the 18th day of the 1st month of the 3rd year of Meireki
(2nd March, 1657), and as this was the third time the same garment
had been sent into this temple, it attracted the eyes of the _nasshō_
(the priest who transacts the business of the monastery) and _bansō_
(assistant priest) who thought—“How miraculous! There must be something
mysterious in this event, and it is certainly no mere chance-work that
this _ko-sodé_ (long-sleeved garment) should have come round three
times in succession to our temple”—and they told the Father Superior
of their impressions. The Father Superior, after pondering the matter
for a short time, said—“It is indeed a very important case. It is
exceedingly mysterious that the garment should have passed through the
hands of our parishioners not once but twice and thrice, and it is
more mysterious that the deceased persons have all been young girls.
I will myself interrogate the _seshu_ (person who orders everything
relating to the funeral) about the matter.” Thus, prior to the funeral
service, he interviewed the _seshu_, and enquired about the history of
the _ko-sodé_ (long sleeved garment). The _seshu_ answered—“I am deeply
ashamed by reason of your enquiries in that way, but our daughter went
out one day to the neighborhood of Asakusa on certain business, when
she saw this garment hung up in the shop of a certain cast-off-clothing
dealer, and she was importunately anxious to get it. We bought it
according to her earnest desire, and from that very night she was
taken ill with a raging fever and not only that, but she talked
deliriously like a lunatic, tightly embracing the garment the while.
All my family together endeavoured very hard to take the garment away,
but she would not allow it to be removed. Since then she became thinner
and thinner and finally expired.” The priest nodded to the speaker and
then related in detail all about the mysterious garment, and how it
had come into the temple twice before as a _kakemuku_ (pall) from two
of their parishioners. The _seshu_ (person ordering the funeral) on
hearing this story was struck with terror and said—“Then, if you should
sell this _ko-sodé_ again this time, the same calamity will fall upon
another unfortunate individual. This is not my wish, and I think it
will be proper to put it on the fire and burn it up after the funeral
ceremony is finished.” The Father Superior nodded several times and
replied—“Indeed that is the wisest course,—yes—yes.” Then after the
funeral ceremony was over, and the people all gone, the priests brought
out a brazier of three feet square in order to burn the garment, and
crumpling up the _ko-sodé_ they cast it on the fire, all chanting the
prayer in chorus “_Oh let the souls of the three women quickly enter
into Paradise. We adore thee Oh blossom of doctrine!—thou salvation
bringing book of the wonderful Law!_” Immediately after they had
flung the garment into the flames a sudden whirlwind arose which came
sweeping from the North, blowing up sand and dust to such an extent
that in an instant the sky was entirely blotted out by a cloud of
grit and dust, which threatened to envelope the whole universe with a
darkness as black as a raven’s wing. The people in the temple looked at
each other in horror, saying in their agitation that this was no chance
event, when suddenly at that very moment, the burning garment spread
out and was carried by the wind high up into the inner side of the
lofty ceiling of the main chapel. The bystanders had no time to exclaim
more than “Oh!” before the main chapel and the priests’ dwelling were
one mass of flame, and the fire was burning up furiously until it
became at length the origin of a great disaster. Such was the origin
of what is known as the _furi-sodé-kwaji_ (Long-sleeved garment fire)
of Hongo, Maruyama, Hommyōji (temple), which consumed nearly the whole
city and which still remains upon the lips of the people to the present
day.
Mei-gi ryaku-den.
(_Brief sketches of the lives of famous courtesans._)
_Taka-o_.
The first Taka-o flourished in the period of the former (_moto_)
Yoshiwara, and was called Myōshin Taka-o. She was also known as
_Ko-mochi Taka-o_ (_child-bearing Taka-o_) as she used to promenade
attended by a wet-nurse who carried the child of which she had been
delivered.
The second Taka-o was known as Daté Taka-o.
The third Taka-o was “Saijō Taka-o” who was redeemed by one Saijō
Kichiyemon (a retainer of Kii Chūnagon) and taken by him to his native
province (Kii). Another account says that she was redeemed by Saijō
Kichibei, a gold-lacquer painter at the Shōgun’s Court.
The fourth Taka-o was called “Asano Taka-o.” It is said that she was
redeemed either by Asano Iki-no-Kami or Asano Inaba-no-Kami, both of
whom were _daimyō_. According to the list of _daimyō_ published in the
4th year of Meireki (1658), Asano Iki-no-Kami seems to have been the
grandson of the well-known Asano Nagamasa.
The fifth Taka-o was called “Midzutani Taka-o.” She was redeemed by
Midzutani Rokubei, a banker to the Prince of Mito. Later she eloped
with a servant of Mizutani—an old man 68 years of age. Then she married
Handayū Ryō-un, and next became the concubine of Makino Suruga no Kami
(a _daimyō_), but she again eloped with one of the latter’s attendants
named Kōno Heima. Next we see her as the wife of a hair-dresser at
Fukagawa, then the wife of an actor named Sodeoka Masanosuke, and then
that of an oil dealer at Mikawa-chō. The career of this much-married
woman was brought to a close by her sudden death in the street in front
of the Dai-on-ji temple.
The sixth Taka-o was called “Da-zome Taka-o,” and was redeemed by a
dyer named Jirobei. She is said to have been a very beautiful woman
who surpassed all her predecessors except the fifth, (whose immoral
behaviour we have just noticed) to have been a skilful writer (one of
the necessary accomplishments of a lady) and to have been of a quiet
and gentle disposition. With her lady-like accomplishments and graceful
manner she was fitted by nature to become the wife of a gentleman of
position, and yet she married Jirobei although the latter was not
only in humble circumstances but noted for being a rare specimen of
ugliness. The strange union, however, proved a great success as the
pair lived on most happy and affectionate terms. The history of their
marriage was briefly as follows. Jirobei, who was a dyer working in his
master’s shop, one day went out to the Yoshiwara with his comrades to
see the promenading of _yūjo_. On this occasion he first saw his future
wife, and, being greatly struck by her beauty and graceful demeanour,
he thought if he could only approach her the one wish of his
whole life would be gratified. At that time, however, the engagement
of so superior a _yūjo_ by a common artizan who made a hand-to-mouth
living was, of course, out of the question and Jirobei felt desperate.
The matter preyed on his mind to such an extent that when he returned
to his master’s house he looked so melancholy and depressed that
his appearance attracted the attention of his employer. Unable to
conceal his secret, he unbosomed himself to his master, and the latter
encouraged him to work diligently and save money enough to engage the
_yūjo_, as it was, after all, only a matter of money. For more than a
year Jirobei worked very hard both by day and night, and by dint of
great economy managed to save enough cash to pay the _age-dai_ of a
_yūjo_ of Taka-o’s class. The very moment that he had sufficient money
he hurried off to the Yoshiwara, as he feared that should he wait too
long the object of his love might be redeemed by somebody and thus be
lost to him for ever. Entering the quarter dressed in his workman’s
attire, and looking dirty and uncouth with his unkempt hair and stubbly
beard, he experienced considerable trouble in approaching Taka-o, but
finally he succeeded in meeting her and disclosed everything without
reserve. Her woman’s heart was greatly moved by this proof of loving
sincerity, and she finally promised to marry him when her term of
engagement expired. This promise she afterwards faithfully redeemed,
and Jirobei then opened a dyer’s shop on his own account in the city,
and became very prosperous in after years. It seems that Jirobei was
not a success as a dyer as he was unskilful in the technique of his
trade, but his business prospered on account of the many people
who patronized his establishment in order to catch a glimpse of the
famous and romantic beauty.
It is not on record as to who redeemed the seventh Taka-o. Some persons
mistake the seventh for “Sakakibara Takao.” In the Mi-ura record the
sixth is erroneously mentioned as the “Sakakibara Takao.” The eight and
ninth appear to have had successful careers in the Yoshiwara, but they
were apparently not redeemed by people of note as no record exists on
this point.
The tenth Taka-o seems to have appeared in the Yoshiwara either in the
13th or 14th year of Kyōhō (1728 or 1729).
The eleventh Taka-o was redeemed by Sakakibara-Shikibu-Tayū, daimyō of
Takata, Echigo province, who enjoyed an income of 150,000 _koku_ of
rice per annum. With the retirement of this lord she accompanied him to
his clan headquarters (Takata): after his death she became a nun and
died at the age of thirty and odd years.
_Hana-ōgi_.
The _Yedo-Kwagai-Enkahushi_ says that the brothel-keeper named Ōgi-ya
Uyemon was a pupil of Katō Chiin, well versed in the composition of
Japanese poems, and favourably known by his literary name of _Bokuka_
(墨河 = “Inky River”). Among the inmates of this gentle poetaster’s house
was a _yūjo_ named Hana-ōgi who was very popular at that time. About
the 6th year of Kwansei (1794) she escaped from the Yoshiwara and lived
with a man with whom she had contracted intimate relations, but she was
soon detected and brought back to her master’s house. She then refused,
on the plea of illness, to act as a _yūjo_ any more and no persuasion
had any effect upon her.
Finally the master of the house composed a poem to the effect that:—
“Notwithstanding the careful attention given to the plum-tree by its
care-taker in order that its flowers may not be injured the wind
increases in violence.”
and showed it to her. Hana-ōgi, bursting into tears, and touched by the
kindness of her master, instantly composed another poem which read:—
“The plum-blossoms that tightly closed themselves in order not to be
shaken by a merciless wind may be found in bloom next Spring.”
From this time she changed her mind and her popularity returned.
The _Kinsei Shogwadan_ says that Hana-ōgi, a _yūjo_ of the Ōgi-ya,
Yoshiwara, not only had poetical tastes and was well versed in the
art of penmanship but was a most filial and dutiful daughter towards
her aged mother. Though her literary accomplishments were well-known
and recognized, her filial piety was not so widely known, and the
author of the _Kinsei Shogwadan_ says “filial piety ought to be prized
above all other things. It is a rare quality among women who sell
their bodies for prostitution.” In the case of Hana-ōgi, her filial
piety having been noised abroad until her fame reached even to far
away lands, a Chinese scholar, named Hikosei, who visited Nagasaki on
board a trading-ship, happening to hear about her sent her a letter of
eulogy written in the style of a Chinese poem. The composition, which
was characterized by beautiful and imaginative thought, may be freely
translated as follows:—
“You, who are the leading courtesan of a superior house of pleasure,
are richly gifted by Heaven with a hundred various graceful
accomplishment most excellent in woman. I, being a stranger
and sojourner from a far-off land, must sail away without beholding
your charms, but I shall long for you while tossed upon the bosom
of the boundless sea. There is in Yedo a famous courtesan, named
Hana-ōgi, who not only is of unsurpassed beauty, but is well versed in
literature. This lady has an aged mother at home whom she adores, and
to whom she blindly devotes herself as a filial child is bound to do.
I have sojourned in Nagasaki for a decade and have known many women at
once beautiful and possessed of poetic tastes, but never have I heard
of a courtesan accomplished in literature and likewise distinguished
for her filial piety.
“Having heard your story—Hana-ōgi—I wish to personally visit you, but
this being impossible I compose a poem and send it to you.”
(Signed) Shokei Hi-ko-sei.
It appears that Hana-ogi was a pupil of Tōkō Genrin (a poet), and often
composed both Chinese and Japanese poems. Three of her compositions run
as follows:—
1.—The name of Hana-ōgi (“Floral Fan”) does not suit the person who
bears it, and is comparable to the case of a rough woodman who has
an uncommon and ludicrously fine name.
2.—Though the autumnal moon is shining, the countenance of him upon
whom I gazed for the last time in the days of Spring vanishes not
from my mental vision.
3.—The moon shines so brightly and magnificently upon the trembling
surface of the river that the shadow of a man who is handling ropes
in a boat may be clearly discerned.
It is said that this noted courtesan wrote the Chinese character 鳴琴
(_meikin_ “tinkling harp”) and after framing the paper presented it to
the _Ishi-yama-dera_ (temple) where it was hung in the _Genji-no-na_
(room).[56]
_Tamakoto_.
In one of the poems of the famous Bashō it is said:—
“The pine-tree of _Karasaki_ is more obscure than the flowers.”
This poem is considered to be written in praise of the virtue of the
evergreen solitary pine-tree which is inferior to the flowers on a
cloudy night. Tamakoto may be favourably compared to this pine-tree
of Karasaki (which is a universally recognized symbol of virtue),
as she is described to us as “_a model of sincere, charitable, and
charming womanhood, whose graceful manner and delightful conversational
power lifted her high above the other women of her class_.” Owing to
these unique and sterling qualities she became the most popular of
all the courtesans of the Yoshiwara. The custom of depositing a leaf
of a “_naki_” tree in the back of the handle of the mirrors used by
ladies in making their toilettes, was inaugurated by Tamakoto. It was
afterwards followed by many ladies of high rank. In feudal days the
sword was called “the living soul of the _samurai_,” and a lady’s
mirror was also considered as equally precious and important to her.
The depositing of a leaf of the “_naki_” tree in the mirror handle
appears to have had a religious significance, as the _naki_ tree is
said to have been the sacred tree of the shrine of Idzu Dai-Gongen,
in Hakone, Idzu province. It was believed that the Hakone Gongen was
the deity who supervised the carrying out of promises made between the
sexes, and therefore the _naki_ leaf placed within the mirror handle
was equivalent to a pledge to the gods that the owner of the mirror
would be faithful to men and never utter a falsehood. While she was yet
in the prime of life Tamakoto fell sick and returned to her parents’
home, where, in spite of everything done to restore her to health,
she departed this life and “_set out on her journey to the unknown
world_” in the 25th year of her age. During her life this accomplished
woman composed a lyric song entitled “_The Sorrowful Butterfly_” which
was afterwards set to music by Ranshu and sung in loving memory of the
gentle authoress.
_Katsuyama_.
In the employ of Yamamoto Sukeyemon, of Kyō-machi ni-chō-me, was a
_yūjo_ named Katsuyama who, though a _sancha-jorō_, was a gentle and
kindhearted woman, accomplished in the art of composing Japanese
poems and very æsthetic in her nature. Once, on the occasion of the
celebration of _Hina-matsuri_ in the third month of a certain year,
a well-known poet of that age—Ransetsu—happened to be in Katsuyama’s
room and witnessed her preparations for the festival, and he wrote the
following stanza:—
“_It is pitiable to see a barren woman celebrating the Hina festival._”
This is in allusion to the fact that the doll-festival (_Hina-matsuri_)
was originally inaugurated for the purpose of celebrating the birth of
children and of manifesting a desire to have a succession of lineal
descendants to perpetuate the family name. _Hina_ means young birds
newly hatched from the eggs, and in feudal times child-bearing was
considered of such great importance that barrenness was a sad disgrace
and formed a legitimate ground for divorcing a wife. A courtesan, in
consequence of her unnatural life, and the physical strain to which she
was subjected, was supposed to be incapable of conceiving, and
hence Ransetsu’s lament that a woman of Katsuyama’s goodness and
beauty should be condemned to celebrate a festival which amounted to a
mere mockery of her unfortunate position.
Though a courtesan, Katsuyama was a sincere and worthy woman, an
earnest and devout Buddhist, possessed of refined tastes which made
her a lover of the beautiful, an adept in floral arrangement, and
an accomplished writer. She also seems to have been gifted with an
inventive genius, for she devised an unique style of hair-dressing
which was so simple and unaffected that it speedily found favour with
every class of women, not excepting the ladies of the _daimyōs_’
courts, the latter adopting this _coiffure_ almost universally. It is
still known as the “_Katsuyama magé_.” A very pretty story is told
which illustrates the kindness of heart that characterized Katsuyama.
There was a certain _bugyo_, named Kaisho, who was on intimate terms
with the fair damsel and who was so infatuated with her goodness and
beauty that he spent considerable sums of money in the purchase of
rare and costly articles for the purpose of affording her pleasure. On
one occasion he sent her a silver cage, fitted with a golden perch,
containing a beautiful Corean bird, known as a _hiyo-dori_ (brown-eared
bul-bul). When he sent her this present he remarked that it was
impossible to buy such a bird with money, and that he had only obtained
possession of the pretty warbler owing to his position and influence
as _bugyo_. Katsuyama was delighted to receive the kind gift of her
friend, but after she had exhibited it to the inmates of her house she
took the cage into her own room and addressed the feathery inmate in
the following words:—
“Sweet little birdie, there may be those who envy your position living
in a cage decorated with gold and silver and being petted by people,
but I, my birdie know that the thoughts which fill your mind are quite
opposite to those others attribute to you. I have lived for many
years in the Yoshiwara like a bird in a cage and can sympathize with
your situation. I too have lived in a golden cage and am arrayed in
gorgeous robes, but I know that a person deprived of freedom is like
Ōshokun[57] for whom jewels and flowers had no attraction and who
felt as if living in Kikaigoshima (Devils’ Island). Judging by my own
feelings I can imagine the sorrow of you, birdie, for be you ever so
well treated and carefully tended you will flutter against the bars of
your cage and long to fly away and be at liberty under the blue sky of
Heaven just as I long to return to my dear native place.”
So saying, Katsuyama took the beautiful bird from its cage and allowed
it to fly away. If this had happened in the time of Kenkō Hōshi (the
priestly author of the celebrated _Tsurezure-Gusa_) he would assuredly
have praised her kindly deed in the same manner as he did a similar act
of Kyōyū in his well-known book of jottings.
_Segawa_.
The second Segawa of the Matsuba-ya of Yedo-chō ni-chō-me (Yoshiwara)
was redeemed by the master of E-ichi-ya (an establishment in the
vicinity of Ryōgoku-bashi), and the third Segawa by a blind musician
named Toriyama. The second Segawa lived on affectionate terms with her
redeemer, but by and by she fell sick and lay helpless for a long time
in spite of everything which her doctor could do. Some person having
suggested that if she were named after an animal she would recover,
Segawa changed her name to Kisa, (archaic term for “elephant”) and
tradition says that after this she was gradually restored to
health under the treatment of a certain Doctor Kitayama Gian. While
Segawa was still in the Yoshiwara she sent a letter, written in a
beautiful hand, to her intimate friend Hinadzuru (of the “Chōjiya”)
on the occasion of the latter leaving the Yoshiwara in consequence of
having been redeemed by a guest. The letter was a model of Japanese
feminine writing, and ran as follows:—
“It is with feelings of the utmost satisfaction and delight that I
hear you are to-day going to quit the “house of fire” (_Kwataku_ 火宅)
of this Yoshiwara for ever, and that you are going away to live in a
cool and more congenial city. I cannot find words adequate to the task
of expressing my envy of the promising future which awaits you at your
new residence. Moreover, according to the principles of divination,
your nature has affinity with wood while that of your husband has
affinity with earth. This is an excellent combination of the active
and passive principles of nature, for the earth nourishes and protects
the wood (tree) as long as it lives. This is indeed a good omen and
augurs well for your future prosperity and happiness, and I therefore
again congratulate you on the felicitous and promising union you have
made.”
_Usugumo_. (Faint Clouds.)
In the Genroku period (1688–1703) Usugumo was one of the most
popular of the Yoshiwara courtesans and ranked next to Taka-o in
this respect. She was an exceedingly beautiful woman, graceful and
slender as a willow-tree, and moreover she was versed in all those
polite accomplishments the acquirement of which is necessary to a
Japanese lady. On the 15th day of the 8th month of a certain year
she was holding a “moon-viewing” party with her guest in the second
story of an “_age-ya_” and was busily composing or reading Japanese
and Chinese poems while enjoying the ravishing splendour of the full
harvest moon which hung like a glittering silver mirror in the
cloudless autumnal sky. Presently thin clouds appeared on the horizon,
and gradually spreading themselves over the heavens screened the moon
from view. In the adjoining room a _Kōshi-joro_ named Matsuyama (“_Pine
Mountain_”) was also holding a moon-viewing party with her guest,
and this woman, not being on good terms with Usugumo [“_Thin_ (or
‘_Faint_’) _Clouds_”] maliciously remarked:—
“The thin clouds are insolently hiding the beauteous moon from public
gaze.”
Hearing this but ill-veiled sneer directed at herself by means of a
clever play upon the words “_usu-gumo_” [_faint_ (or _thin_) _clouds_]
Usugumo, unable to control her temper, replied with cruel directness:—
“Those thin clouds which now obscure the moon may appear to be blots
on the sky above us, but after all they are but transient and will
soon drift away. The pine-crowned mountain (_Matsuyama_) yonder on the
contrary looms up dark and forbidding in the landscape and permanently
obstructs the best view of the orb of night.”
Discomforted by this spontaneous and fitting answer, Matsuyama coloured
up and immediately retired from the party. Usugumo was well-known for
her ready wit and cleverness in repartee, and the above incident proves
that her reputation was well deserved.
Usugumo possessed a beautifully furred cat which she was accustomed
to take with her whenever she went out promenading, the animal being
carried by one of her attendant _kamuro_. Strange to say, whenever
Usugumo went to the lavatory her pet followed her without fail, and
this fact having become well known among the inmates of the house
it gave rise to an idle whisper to the effect that the cat was in
love with its owner! The proprietor of the “Miura-ya” (to which
establishment Usugumo belonged), hearing of this story, one day caused
the cat to be fastened to a pillar and awaited the result. On seeing
Usugumo going into the lavatory, however, the cat became desperate, and
biting through the rope with which it had been fastened attempted to
rush after its mistress, leaping clean over a pile of kitchen utensils
which stood in the way. As it flew along, one of the cooks gave the
animal a blow on the neck with a sharp kitchen knife, completely
severing poor pussy’s head from her body. Usugumo, who had been in the
lavatory, being frightened by the noise and commotion came hurriedly
out and was much distressed to find her eat dead, but she noticed that
although the body remained the head of the unfortunate animal had
disappeared. On an examination of the lavatory being instituted, the
missing head of the cat was discovered with its teeth tightly closed in
a death grip on the throat of a great snake which was writhing in the
throat of impending dissolution! Then the mystery of the cat’s constant
attendance on its mistress was fully explained, as the people saw that
the unhappy animal, knowing of the snake’s existence, had followed
Usugumo for the purpose of protecting her from injury, and had died
in her defence. When the story of the cat’s faithfulness became known
everyone bewailed pussy’s sad fate, and in order to atone for the cruel
treatment to which it had been subjected the animal was buried in the
family cemetery of the house. Kikaku’s poem to the effect that:—
“The cat of Kyōmachi was wont to play between it and Ageya-machi”
seems to refer to Usugumo’s pet.
In former days the grave of this loyal creature was pointed out at
Ageya-chō, but nowadays the site of the monument has been forgotten
owing to the frequent occurrence of fires in the Yoshiwara.
_Ōsumi_.
Though Ōsumi was comparatively lower in rank than Shiragiku of the
“Yamagata-ya” and Karyū of the “Hyōgo-ya”, she was a very popular
courtesan and more sought after than they. One day she was suddenly
taken ill, and her malady increasing in severity she could get no
rest even at night. When, worn out with fatigue she finally succeeded
in dropping into a fitful slumber, she shrieked and groaned in an
agony of terror, while the cold sweat poured in a profuse stream from
her quivering frame. Her symptoms were so dreadful that the other
inmates of the brothel felt their blood run cold as they gazed on
her drawn and terror-stricken countenance and heard her awful cries
of fear, but they did their best to alleviate her sufferings and
attended her assiduously. Curious to relate, the women who nursed the
unhappy sufferer found an immense toad at the side of her couch, and
although they flung the loathsome creature away several times it would
immediately return and squatting down by the bed would sit gloating
over the patient—a portentous and revolting watcher!
At length, notwithstanding the efforts of her attendant physician
Ōsumi wasted to a skeleton and finally died of the dread disease which
had seized upon her, but to the last she uttered the most ghastly and
blood-curdling cries and in her delirium expressed a sense of the
most awful terror pursuing her to the grave.
It is stated that a certain priest had been in the habit of frequently
visiting Ōsumi, and having fallen in love with her tried his best to
win the fair courtesan for himself, but failed owing to her having
a paramour. The latter had squandered his parent’s money in riotous
living and had been driven out of his home on that account. Ōsumi, in
order to assist her sweetheart in distress, pretended to be deeply
in love with the priest referred to, and by this means inveigled the
recreant “Servant of Buddha” into supplying her with considerable sums
of money, all of which she promptly gave to her secret lover. One dark
night, the deluded priest was foully murdered on the banks of the
Nihon-Zutsumi, and it is said that his troubled spirit sometimes passed
into the body of a frog which sat haunting the bedside of Ōsumi, and
at other times took possession of the body of _kamuro_ and in a hollow
sepulchral voice expressed his resentment to the heartless woman who
had allured him to death and perdition.
_Ko-murasaki_ (Little Purple.)
(_The second of the name._)
The name of this courtesan is known throughout the length and breadth
of Japan, and the fame of the fair girl has been spread even to Western
lands by means of a story entitled “_The Loves of the Gompachi and
Komurasaki_” given in Mitford’s “Tales of Old Japan”.
She is regarded as a specimen of feminine faithfulness as exhibited
by women of her class. She was proficient in the art of literary
composition, wrote a beautiful hand, and was well versed in all those
other graceful accomplishments which were considered necessary to
ladies in this country. It is said that she was the authoress of a
popular song called the “_Yae-ume_” (The double-blossomed Plum) which
ran as follows:—
“I am like the azalea which blossoms in the meadows, pluck my flowers
ere they fall and are scattered.
“I am like the firefly in the field which lights up the bank like a
pine-torch. However impatiently I may long for you and pine to meet
you I am like a bird imprisoned in its cage and cannot fly away, and
my inexpressible sorrow makes me brood in melancholy.”
The touching story of the loves of Ko-Murasaki and Shirai Gompachi is
as follows:—
“About two hundred and sixty years ago there lived a young man named
Shirai Gompachi who was the son of a respectable _samurai_ in the
service of a _daimyō_ in the central provinces. He had already won a
name for his skill in the use of arms, but having had the misfortune
to kill a young fellow-clansman in a quarrel over a dog, he was
compelled to fly from his native place and seek refuge in Yedo.
On arriving at Yedo he sought out Bandzui-in Chōbei, the chief of
the _Otokodaté_ (Friendly Society of the Wardsmen of Yedo) and was
hospitably entertained and protected by that famous wardsman. One day
Gompachi went to the Yoshiwara for the first time in company with
Tōken Gombei, Mamushi Jihei and other protegés of Chōbei, and this
visit was the cause of his undoing. While watching the gaily dressed
courtesans promenading in the Naka-no-chō, escorted by their male and
female servants, Gompachi’s attention was drawn to a famous beauty who
had recently made her début in the Yoshiwara.
“It was a case of mutual love at first sight, and from that time
the handsome young man went daily to the Yoshiwara to visit
Ko-Murasaki. As was usual with a frequenter of the quarter, Gompachi,
being a _rōnin_ and without any fixed employment, had no means of
continuing his dissipation and at last when his stock of money ran
out he commenced to resort to robbery and murder for the purpose of
replenishing his purse.
“Blinded and infatuated by his love for Ko-Murasaki, he continued
his wicked course of life and kept on slaying and robbing, but at
length he killed a silk-dealer on the banks of Kumagaya and robbed the
unfortunate man of three hundred _ryō_ and this act subsequently led
to his arrest and execution as a common felon at Suzugamori (“Bell
Grove”) near Ōmori which was the execution ground in the days of
the Tokugawa Government. When Gompachi was dead, Bandzui-in Chōbei
obtained the remains from the authorities and interred them in the
burial ground of the Boron-ji Temple at Meguro. Ko-Murasaki, on the
other hand, was redeemed by a certain wealthy man after her lover’s
death, but on the very night of her redemption she escaped from her
benefactor’s house and after spending the night somewhere she repaired
the next morning to the temple where Gompachi lay buried.
“First she thanked the priest in charge for his kind consideration
and care for the soul of the departed, made an offering of a bundle
of costly incense-sticks and ten _ryō_ to the temple, and placed five
_ryō_ in the hands of the priest asking him to expend the money in
erecting a stone monument over Gompachi’s grave. After this she went
out into the burial ground and offered prayers over the tomb of her
loved one, and committed suicide by means of a dagger she had brought
with her for the purpose. When the chief priest of the temple—Zuisen
Oshō—heard what had happened he reported the sad event to Bandzui-in
Chōbei, and the latter soon came to the spot bringing with him the
parents of the unfortunate girl.
“Unhappy in their lives, in death at least they were not divided,
for the body of Ko-Murasaki was buried in the same grave as that of
Gompachi.
“Beside the tomb was planted an orange-tree with two branches as a
symbol that the two sleepers had entered into their eternal rest in
perfect and mutual accord, and over the grave they erected a stone
monument on which were engraved the respective crests of the couple—a
sasarindō[58] in the case of Gompachi and a circle containing two (井)
characters in the case of Ko-Murasaki. The names of the dead pair were
also inscribed on the tombstone, and the words “_Tomb of the Hiyoku_”
added. The monument remains to this day, and by it stands another
bearing the following legend:—
“In the old days of Genroku, she pined for the beauty of her lover,
who was as fair to look upon as the flowers; and now beneath the
moss of this old tombstone all has perished of her save her name.
Amid the changes of a fitful world, this tomb is decaying under the
dew and rain; gradually crumbling beneath its own dust, its outline
alone remains. Stranger! bestow an alms to preserve this stone, and
we, sparing neither pain nor labour, will second you with all our
hearts. Erecting it again, let us preserve it from decay for future
generations, and let us write the following verse upon it:—“_These two
birds, beautiful as the cherry-blossoms, perished before their time,
like flowers broken down by the wind before they have borne seed._”
While Gompachi was in prison the following letter was sent to him by
Ko-Murasaki:—
“_I am looking upon the rare flower which you sent to me only the
other day, as if I were gazing upon your countenance. I am extremely
distressed to learn that you find yourself placed in such an
unpleasant position, and am inconsolable at the thought that your
unhappy plight has been caused by myself. I hear it stated that there
is a god even in the leaf of a flower and so I solemnly appeal to this
deity to witness my unaltered faithfulness and constancy towards you,
come what may._”
The above document is still in existence and is known as the
“_Hana-kishō_” (“the Floral Vow”). It is often quoted to show how
Ko-Murasaki loved her sweetheart and how faithful and true she was
towards him in the day of adversity.
Even to-day people think kindly of the sorrows and constancy of the
beautiful courtesan and keep her memory green in song and story, and
still pious folks burn incense and lay flowers before her grave and
say a prayer for the souls of the ill-fated couple. A popular song
expresses the feelings of the Japanese people towards Ko-Murasaki when
it says:—
“_Who shall say that courtesans are insincere? Let him visit Meguro.
Let him see the Hiyoku-zuka which bears silent but eloquent testimony
to a courtesan’s fidelity!_”
_Kaoru_ (_Fragrance_.)
Kaoru was an exceptionally beautiful woman and was the leading
courtesan of the “Tomoye-ya.” A certain enthusiast has left a
record of the impression made upon him by this belle in the
words—“Everyone who gazed upon her lovely countenance and noted her
charming and graceful mien was intoxicated with the joy of her presence
and remembered the story of the historical Chinese beauties Rifujin
(李夫人) and Seishi (西施).” Once, one of her familiar guests brought her a
water-vessel containing four or five much prized gold fish of a species
known as _Ranchō_.
Kaoru and the other inmates of the house were greatly delighted with
the beautiful gold-fish, and surrounding the vessel looked eagerly into
it, quite forgetting in their excitement that they were neglecting
their visitor. By and by the guest became weary of waiting, and to
beguile his tedium he edged his way into the group of on-lookers to see
what was going on. He perceived a maid-servant, under the directions of
Kaoru, taking the gold fish out of the vessel one by one and placing
them on the cover of the latter. This proceeding aroused his curiosity
and he enquired the reason, saying:—
“Why do you take the fishes out of their element? None of them are
dead!” Kaoru blandly replied—“The fish seem quite tired, so I am giving
them a rest by making them lie down on this cover.”
The guest was dumbfounded at this marvellous exhibition of
unadulterated ignorance and burst into laughter. This story may seem
to reveal most crass ignorance and a wonderful depth of idiotic
stupidity; but in those days such an exhibition of want of information
on common topics was greatly appreciated in Japan, for it was supposed
to betray maiden-like innocence of the world. At any rate, it is said
that Kaoru’s guest was so struck with her simplicity that he
became more attached to her than ever after this event. There is
another highly disgusting and somewhat Rabelaisian story narrated
about Kaoru which is supposed to show the affection (_sic_) in which
this charming courtesan was held in the Yoshiwara. A party of reckless
young bloods were holding a _saké_ party one night, and the liquor
was flowing freely, when suddenly some stupid individual dared any
person in the assembly to swallow the contents of a large cup filled
with pepper. Flushed with wine, and ready for any devilment, another
human ass immediately accepted the challenge and volunteered to
undertake this feat of horrible gormandizing. First the enterprising
idiot drank a cupful of _saké_ and then proceeded to gulp down the
pungent preparation, but no sooner had he swallowed the first mouthful
of pepper than he fell down writhing in terrible anguish, his eyes
starting from his head, and his countenance revealing the tortures of
the damned in the burning hell. Naturally a scene of great confusion
followed this occurrence, the party was sobered up by the untoward
event, and a doctor was immediately summoned to treat the patient.
This disciple of Æsculapius was apparently as well posted about
medical affairs as an ordinary coolie, for he was at his wit’s end
to know how to treat the case. However, something had to be done to
keep up the reputation of the “faculty,” and the worthy leech gravely
prescribed human fæces as a medicine possessed of remarkably curative
properties! This abominable prescription frightened the attendants,
and they decided to ask the patient for his opinion on the matter.
The latter, being unable to speak, seized a brush and wrote down on a
piece of paper—“If I must perforce take the horrid dose, _I prefer_
************”!!!
_Kokonoye_ (_Nine-folded_.)
Kokonoye was the name of a well-known courtesan who was possessed
of considerable literary ability. Her story is a sad and withal
interesting one as it reveals the vein of illogical reasoning
traversing the unnecessarily severe and inhumane judgments of the
Japanese judicial authorities in ancient times. It appears that
Kokonoye had been in the employment of a certain respectable citizen of
Tōkyō as wet-nurse for his infant son. By and by the child grew older,
and one day while playing, he got drawn into a quarrel with one of his
comrades. Words soon led to blows, and the boy inflicted an injury on
his little playmate which caused the death of the latter. The dead
boy’s parents, indignant at the deed, complained to the authorities
and the case came on for hearing before Ōka Echizen no Kami who was
renowned as a great jurist in the olden days. The Solomon-like Judge
decided that both the little prisoner and Kokonoye were alike guilty.
He said that the boy had actually committed homicide, and that the
nurse had been an accessory to the crime inasmuch that she had failed
to exercise proper control over her charge. The boy was therefore
sentenced (due consideration being had for his tender years) to be
sent to a monastery and trained as a priest, while the unfortunate
nurse was condemned to a life of shame in the “Sea of bitter misery”
(the “Yoshiwara”) for a term of five years. Kokonoye was accordingly
sent to the Yoshiwara and was there engaged as a courtesan in the
“Nishida-ya” at Yedo-chō, It-chō-me. Another account says that this
woman originally belonged to the family of a Kyōto citizen, but that
owing to her lewd conduct she was sent to the Yedo Court for
trial and there sentenced to perpetual service as a courtesan in the
Yoshiwara. That she was a woman of literary and poetical tastes some of
her compositions testify; especially one poem in which she feelingly
refers to her native place, her banishment, the three great duties
of women, and the five obstacles against women attaining the joy of
Nirvana. Years rolled by, and, on account of her age, Kokonoye was no
longer able to retain the popularity which she had originally enjoyed.
Accordingly in the Kyōhō era (1716–1735) the _nanushi_ and elders of
Yedo-chō proceeded to the Court and prayed for the commutation of
Kokonoye’s sentence on the ground of her age, but the petition was
rejected. On hearing this the poor woman was overcome with the most
bitter grief, and composed a poem which may be translated thus:—“Alas!
I am doomed to live in a place far from my parents’ home, and to
ladle up for ever the water of the never-ceasing stream of the Sumida
river.” On reading this sad poem the _nanushi’s_ pity was intensified
a thousand-fold, and with moist eyes he brought the lines to officials
of the Bugyō-sho and again begged the writer’s liberty. Greatly moved
by this expression of hopeless misery, the authorities were graciously
pleased to show their clemency to the unfortunate courtesan, and
readily granted the _nanushi’s_ second petition.
Kinokuni-ya Bunzaemon.
In the Empō era (1673–1680) there lived, in the vicinity of Nakahashi,
Yedo, a man named Bunzaemon. This individual was a person of very
humble extraction, but aided by his native shrewdness he managed to
amass an enormous fortune in a comparatively short time, and
the extravagance of his expenditure furnishes the theme for many a
strange story to be found in Japanese novels. The true narrative of
Bunzaemon’s life has probably never been written, as every version
appears apocryphal and more or less tainted with a strong vein of
fiction, but perhaps it will be interesting to peruse the following
story which is no doubt as true as any other told about the whimsical
_parvenu_. One year Bunzaemon purchased, at a very insignificant
figure, a large quantity of vegetable marrows, fruit of the egg-plant,
etc., which had been used as votive offerings at the festival of
the dead (_shō-kyō-matsuri_) in the seventh month. These various
vegetables he pickled in a mixture of salt and rice bran and held in
stock until such time as he could dispose of them. In the same year
a most destructive fire broke out in the city, and as this caused a
considerable rise in the market prices of commodities, Bunzaemon was
able to unload his large stock of pickles at an enormous profit. With
the money thus realized he immediately started out to Kiso in Shinano
Province in order to buy lumber. For the purpose of making the simple
country folk think him a rich and generous person he purposely and
ostentatiously showed great liberality in giving the children in the
neighbourhood gold coins as playthings. This plan succeeded admirably,
and before he left the district he found himself the owner of a large
tract of valuable forest land on which stood an immense quantity of
timber. Later on the timber merchants of Yedo poured into Kiso to
replenish their stocks which had been exhausted on account of an
extraordinary demand caused by a great fire. To their astonishment
and disgust they found that every available forest had already been
secured by the astute Bunzaemon, and under these circumstances
they were compelled to relinquish their quest and return to Yedo, where
they purchased the necessary lumber from him at a considerable advance
over cost. Not only did he make an enormous profit over the lumber
speculation, but he made a fortune in contracting for the erection of
mansions for _daimyō_ who had been burnt out in the fire. Up to this
time he had been residing in an obscure corner of the city with his
aged mother, but now he blossomed out as a merchant prince and started
a large firm at Ko-ami-chō, employing an army of clerks and servants.
The firm-name adopted was “Kinokuni-ya,” and thenceforth the proprietor
of the concern was known as “Kinokuni-ya Bunzaemon.” He then purchased
a comfortable house for himself and his mother at Isshiki-chō,
Fukagawa. Having once amassed a substantial capital, Bunzaemon’s
prosperity increased with the rapidity of the glorious rays of the
rising sun. One larger contract after another fell into his hands, and
among other orders he secured were those for rebuilding the Gokoku-ji
temple (at _Ko-ishi-kawa_), the family mausoleums of the Tokugawa
Shoguns, etc. After the completion of the latter contract Bunzaemon
entertained in princely style all the Shogunate officials connected
with the work. Excursion boats were engaged, and the officials went out
on the Sumida-gawa (river) accompanied by many popular professional
entertainers, including Hanabusa Itchō, Nakamura Kichibei, and Shinkō.
After enjoying their picnic, the party proceeded to the Yoshiwara,
each man wearing a reed hat (_ami-gasa_) in accordance with the
prevalent fashion. Bunzaemon was very fond of a style of song called
the Handayu-bushi and took lessons in the same from the actor—Yedo
Handayu. The latter had a great weakness for gambling and at
one time lost everything he had, including his marionettes and their
clothes, so he was unable to continue his performances and he got into
every low water. Hearing of Handayu’s misfortunes, Bunzaemon gave him
two thousand _ryō_ in exchange for a written promise never to indulge
himself in gambling again, so the actor was able to redeem his puppets
and effects and resume his business. At the beginning of the same year,
Bunzaemon, in accordance with his usual practice, visited the Yoshiwara
followed by a large number of professional entertainers, and made
minute enquiries as to how much it would cost to engage the whole place
to the extent of closing the great gate and refusing admittance to
outsiders. The reply was that 2,300 _ryō_ (_Yen_ 23,000) would work the
oracle, and Bunzaemon immediately concluded the bargain, had the gates
closed, and held high revel with the whole population of the quarter at
his heels.
In the 11th year of Genroku (1698) he secured the contract to construct
the temples at Ueno, and large sums of money flowed into the great
merchant’s coffers. On this occasion again Bunzaemon invited the
Government officials concerned to go out with him on the river Sumida,
and he engaged a number of minor poets and actors to bear them company
and enliven the proceedings. The party set out from the Kanda-gawa and
landed on the other side of the Sumida-gawa to pay a visit to the Inari
Shrine at Mimeguri, the day being enlivened by a display of fire-works,
etc. It happened that year that there had been a great drought in the
land and not-withstanding the prayers offered for rain not a drop
fell. When Bunzaemon and his companions visited the shrine (called
“_Mimeguri-no-Yashiro_”) one of the farmers noticed that Kikaku (a
famous poet) was among the company, and addressing the latter begged
that he would compose a poem so touching that it would move Heaven to
send rain upon the earth and thus gladden the hearts of all living
things. The farmer pointed out that there was a precedent for this
course as Ono no Komachi (a celebrated poetess in past times) had been
successful in persuading the gods to grant a similar boon by means of
a poem. Kikaku modestly disclaimed being able to control the elements,
but he went into the shrine, prayed, and then wrote down:—
_Yūdachi ya_ “Oh send a shower of rain, if thou art
_Ta wo mimeguri no_ indeed the God who supervises the harvest,
_Kami naraba._ for thou knowest the sad state of the fields.
This poem he offered up to the shrine, and tradition states that Heaven
was so pleased with the production that rain commenced to fall very
shortly afterwards and the whole earth was gladdened by the refreshing
showers and cool breezes. Kikaku having performed this pious and
laudable act, the whole party went to the Yoshiwara and for the second
time the gates of that gay quarter were closed by virtue of Bunzaemon’s
money. Once, three rich men from Ōsaka and Kyōto visited Bunzaemon
in order to make his acquaintance, and he entertained them most
hospitably, offering them every luxury and pleasure that his enormous
wealth could command. In the course of conversation one of the visitors
expressed his belief that any man could procure the love and favour of
a courtesan if he only possessed money: this statement rather offended
Bunzaemon but he dissembled his real feelings and later on promised the
three visitors to take them to the Yoshiwara on the following evening.
Meanwhile, Bunzaemon sent four of his people to Ōtsuya Sanshirō in
the Yoshiwara and made arrangements with him to engage every courtesan
and tea-house in the place and to buy up everything that a visitor to
the quarter would require: in short, the closing of the great gateway
(_ō-mon_) was carried out in a more general and thorough way than ever
before. The following day the three wealthy men from the West arrived
at Imado-bashi in boats, accompanied by Bunzaemon and a gay company,
and were received by the tea-house people, geisha, hōkan, etc., all of
whom wore clothes given to them by Bunzaemon and bearing his crest.
Bunzaemon now led his guests through Naka-no-chō and the other streets
of the Yoshiwara, both sides of which were lined with courtesans,
_shinzō_, _kamuro_, and other inmates of the quarter who had turned
out in large numbers to welcome him. He then entered the “Ōtsu-ya”
tea-house and from there proceeded to an _age-ya_ called “Owari-ya”
where he held a great banquet. The three rich men from the West now
wished to send for courtesans to attend them, but to their great
astonishment they were informed that as everything in the Yoshiwara
had been bought up by Bunzaemon there were neither any women to be had
nor eatables to be procured. The visitors protested most indignantly
at this treatment and spoke about their wealth and possessions, but
the words fell on deaf ears, and finally the crestfallen trio had to
trudge away on foot owing to the fact that Bunzaemon had taken care to
engage all the available boats and palanquins beforehand. It appears
that these three men were very much incensed in consequence of the
trick Bunzaemon had played them, and that they consulted together with
a view to “getting even” with him. It seems, however, that they were
not successful in hitting upon a suitable plan and that they
eventually slunk away home “with their tails between their legs.”
Although Bunzaemon caused the great gateway to be closed on three
occasions, this is not all he did. There are many interesting stories
told about the extraordinary life which this extraordinary man led
and the various pranks he played. For instance it is stated that he
would at times fling showers of golden coins about to be scrambled for
by the persons present, and there is a curious story told about his
extravagance in competing with another rich man, named Naramo, when the
two attempted to vie with each other in prodigality and luxury. There
is also a tradition which mentions the magnificent banquet given by
Bunzaemon in the Naka-no-chō on the occasion of a snow-viewing party.
THE LAW RELATING TO BROTHELS[59]
Notification No. 40. Issued by the Metropolitan Police Board, Tōkyō,
7th July, 1896 (_Meiji_ 29 _nen_ 7 _gwatsu_ 7 _ka_.)
Notification No. 12 containing regulations relative to the control
of brothels (_kashi-zashi_), introducing tea-houses (_hikite-jaya_)
and courtesans (_shōgi_) issued by the Metropolitan Police Board
in March 1889 (_Meiji_ 22 _nen_ 3 _gwatsu_) is hereby amended and
revised as follows: The new regulations are also to be enforced in
_Nishitama-gōri_, _Minamitama-gōri_ and _Kitatama-gōri_, and should
the provisions of this notification conflict with those of previous
notifications the latter shall become null and void from the day that
the present regulations are put into force.
REGULATIONS.
For the Control of Brothels, Introducing Tea-houses, and Courtesans.
Chapter I.
_Brothels and Introducing Tea-houses._
Art. 1.—The business of brothel-keeping, or the keeping of
_hikite-jaya_ shall only be carried on in places approved by the
Metropolitan Police Board, and no new establishments will be permitted
outside of the _yūkwaku_ (a place set apart for prostitute houses).
Art. 2.—Persons desirous of opening a brothel (_kashi-zashiki_)
or _hikite-jaya_ shall send in a petition to that effect to the
Metropolitan Police Board through the Police Station having
jurisdiction, and obtain a license: the same formality shall be
observed should it be desired to change the seat of the business. The
petition shall contain the following particulars:—
(_a_). Place of registration, position or rank, place of residence,
surname and personal name, age.
(_b_). Name of the _kashi-zashiki_ or _hikite-jaya_.
(_c_). Seat of the business.
(_d_). Drawing (plan?) of the building in which the business is to be
carried on. (Arrangement and size of rooms, and the width,
number, and position of staircases must be stated).
Art. 3.—When it is proposed to erect buildings to be used as
_kashi-zashiki_ or _hikite-jaya_, and the height is to exceed three
stories, a petition, to which plans and detailed specification of the
construction are annexed, shall be submitted to the Metropolitan
Police Board through the Police Station having jurisdiction, and
permission obtained to carry out the work. In the case of buildings not
exceeding two stories, only drawings need be annexed to the information
to be given to the Police Board in the manner herein provided. When
rebuilding or repairing, the same formalities shall be observed.
Every house (containing room space up to 30 _tsubo_) used as a
_kashi-zashiki_ or _hikite-jaya_ must have at least two staircases of
four feet in width, and another staircase shall be added for every
additional 30 _tsubo_.
Art. 4—After the permission mentioned in Art. 3 is obtained, and the
buildings have been completed, the Police Station having jurisdiction
shall be notified and the premises inspected, and the said buildings
shall not be used until the Police authorities have sanctioned same.
Art. 5.—Should the keeper of a _kashi-zashiki_ or _hikite-jaya_ be
found infringing these regulations and thereby endangering public
safety, committing offences again public morals and good order, or
lending his (or her) name to others, the license shall be withdrawn or
the business suspended.
Art. 6.—Should the keeper of a _kashi-zashiki_ or _hikite-jaya_,
without reasonable cause, not commence business within three months of
the date of receiving a license, or cease to carry on the same for a
period of upwards of one year, said license shall become null and void.
Art. 7.—Two or more _kashi-zashiki_ or _hikite-jaya_ are not permitted
to carry on their business in partnership.
Art. 8.—When a change occurs in the place of registration, position,
rank, residence, or name of the keeper of a _kashi-zashiki_ or
_hikite-jaya_, when the name of an establishment is altered, when
a change of guardianship takes place, or when business is
relinquished, suspended, or commenced, the Metropolitan Police Board
shall be notified through the Police Station having jurisdiction within
three days of the date on which such change occurs.
Art. 9.—When a license is applied for through a guardian, or when a
change of guardianship takes place, a certificate relative to the
guardian’s status must be annexed, such certificate being signed and
sealed by the head man of a town, village, or district.
Art. 10—Keepers of _kashi-zashiki_ and _hikite-jaya_ shall display
before their establishments a signboard as follows, on which shall be
clearly inscribed their names and the names of their houses, and at
night they shall exhibit a lantern bearing a distinguishing sign.
3 ft.
+-----------------------------------------------+
| Name of the house. |
| Brothel |
| (or _Hikite-jaya_) | 8-1⁄2” in.
| Keeper’s name. |
+-----------------------------------------------+
Art. 11.—Keepers of _kashi-zashiki_ and _hikite-jaya_ shall prepare
two books marked respectively “A” and “B.” In “A” shall be entered the
receipts of the house, and in “B” shall be minutely recorded the name,
residence, profession, age, appearance, and style of clothes worn by
each guest. Each and every time new books are opened they shall be
inspected and sealed by the Police Station having jurisdiction, and
after being used up they shall be preserved during a period of five
years. Should said books be damaged, destroyed or lost, the Police
Station having jurisdiction shall be notified within three days and the
cause stated.
Art. 12.—When keepers of _kashi-zashiki_ and _hikite-jaya_ engage or
discharge _employées_, the names of such _employées_, together with
particulars as to residence, registration, and age, shall be minutely
written down and notified to the Police Station having jurisdiction
within three days.
Art. 13.—When in the course of their business, keepers of
_kashi-zashiki_ or _hikite-jaya_ wish to engage assistants, they shall
only engage persons who are possessed of “_employées pass-book_”
mentioned in Art. 43.
Art. 14.—When keepers of _kashi-zashiki_ or _hikite-jaya_ afford
lodging to females, this fact is to be notified to the Police Station
having jurisdiction within twenty-four hours.
Art. 15.—Keepers of _kashi-zashiki_ and _hikite-jaya_ shall observe the
following provisions:—
(_a_). Refreshments not actually ordered shall not be served or forced
upon guests, neither shall they be urged to eat and drink
against their will.
(_b_). Passers-by shall not be urged to enter and divert themselves;
keepers of houses shall not make arrangements with
_jinrikisha_-men with the object of enticing customers, and
persons shall not be persuaded to visit establishments by means
of public advertisements, etc.
(_c_). Pupils of schools wearing the badges of their respective
schools, and boys under sixteen years of age, shall not be
permitted to enter and divert themselves.
(_d_). When a person wishes to see a guest, his (or her) request shall
not be denied, and it is forbidden to conceal the presence of
such guest so enquired for.
(_e_). In case of taking in pledge any articles belonging to a guest
as guarantee for payment of his account, the guest shall be
conducted to the Police Station having jurisdiction and the
sanction of the Police authorities obtained.
Art. 16.—When special orders are given by Police Stations relative
to the control of their business, keepers of _kashi-zashiki_ and
_hikite-jaya_ shall observe the same.
Art. 17.—With regard to acts performed in the course of business, even
although same be performed by members of their families or _employées_,
the keepers of _kashi-zashiki_ and _hikite-jaya_ cannot plead
non-liability.
Art. 18.—When it is proposed to plant flowering trees, to hold
exhibitions of dancing or buffoonery, to hang up lanterns (_tōrō_),
or to do anything else in the streets, a petition shall be lodged to
that effect with the Police Station having jurisdiction, giving full
particulars and permission be obtained. It is however provided that no
such displays will be permitted outside the boundaries of _yūkwaku_.
Art. 19.—Keepers of _kashi-zashiki_ shall not allow bedizened and
bedecked courtesans to be seen by passers-by in the streets outside
_yūkwaku_.
Art. 20.—In dealing with courtesans, keepers of _kashi-zashiki_ shall
treat the girls fairly, do all in their power to reform them, advise
them to return to a virtuous course of life, and shall not cause them
to squander money recklessly.
Art. 21.—Keepers of _kashi-zashiki_ shall cause the courtesans in
their houses not to infringe the regulations relative to physical
examination, and when the women are ill shall at once cause them to
receive medical advice and treatment.
Art. 22.—Keepers of _kashi-zashiki_ shall hang up in a place where it
can be easily seen by the courtesans a copy of the regulations with
_hira-gana_ written against the (Chinese) characters.[60]
Art. 23.—In the event of a courtesan infringing these regulations,
information shall be given to the Police Station having jurisdiction,
but the keeper of the _kashi-zashiki_ shall not attempt to enforce an
observance of the same by private arbitrary measures.
Art. 24.—When courtesans wish to enter another brothel, to give up the
life of prostitution, to rest for a time from the exercise of their
profession, or to visit some place outside the quarter, the keepers of
_kashi-zashiki_ shall not raise objections except on reasonable and
valid ground.
Art. 25.—Whenever a courtesan absconds or returns, information is to be
immediately given by the _kashi-zashiki_ keeper to the Police Station
having jurisdiction.
Art. 26.—Keepers of _hikite-jaya_ are forbidden to allow guests,
courtesans, or singing girls to lodge in their establishments.
Art. 27.—Keepers of _kashi-zashiki_, _hikite-jaya_, and courtesans
shall form guilds within each of their respective districts, shall
draw up rules and regulations, and obtain the sanction of the
Metropolitan Police Board to the same through the Police Station having
jurisdiction. The same formalities shall be observed when it becomes
necessary to amend or change these rules.
Art. 28.—Guilds shall elect a Director and Sub-Director and obtain
the approval of the Metropolitan Police Board of the persons elected
through the Police Station having jurisdiction. Should the parties
elected be considered as unsuitable for the position, the authorities
may order another election or special election.
Art. 29.—Only males of not less than full twenty-five years of age, and
who have been carrying on the business of _kashi-zashiki_ keeping or of
keeping _hikite-jaya_ for a period of not less than two years in the
district, shall be eligible for election as Director or Sub-Director.
Art. 30.—The term of office of Directors is full two years, but after
the expiration of that period they may be re-elected.
Art. 31.—When amendments or alterations of the regulations relative
to _kashi-zashiki_, _hikite-jaya_, or courtesans are made, or when
(Police) instructions are received, the Directors shall duly notify the
members of their respective guilds.
Art. 32.—Directors shall affix their seals to petitions and
notifications made by _kashi-zashiki_ keepers, keepers of
_hikite-jaya_, and courtesans.
Art. 33.—In addition to those duties determined in these regulations,
matters which require the attention of Directors are specially provided
for elsewhere.