Glimpses of Unfamiliar Japan Read online

  At almost every temple festival in Japan there is a great sale of toys, usually within the count itself—a miniature street of small booths being temporarily erected for this charming commence. Every matsuri is a children's holiday. No mother would think of attending a temple-festival without buying her child a toy: even the poorest mother can afford it; for the price of the toys sold in a temple court varies from one-fifth of one sen [70] or Japanese cent, to three or four sen; toys worth so much as five sen being rarely displayed at these little shops. But cheap as they are, these frail playthings are full of beauty and suggestiveness, and, to one who knows and loves Japan, infinitely more interesting than the costliest inventions of a Parisian toy- manufacturer. Many of them, however, would be utterly incomprehensible to an English child. Suppose we peep at a few of them.

  Here is a little wooden mallet, with a loose tiny ball fitted into a socket at the end of the handle. This is for the baby to suck. On either end of the head of the mallet is painted the mystic tomoye—that Chinese symbol, resembling two huge commas so united as to make a perfect circle, which you may have seen on the title-page of Mr. Lowell's beautiful Soul of the Far East. To you, however, this little wooden mallet would seem in all probability just a little wooden mallet and nothing more. But to the Japanese child it is full of suggestions. It is the mallet of the Great Deity of Kitzuki, Ohokuni-nushi-no-Kami— vulgarly called Daikoku—the God of Wealth, who, by one stroke of his hammer, gives fortune to his worshippers.

  Perhaps this tiny drum, of a form never seen in the Occident (tsudzumi), or this larger drum with a mitsudomoye, or triple-comma symbol, painted on each end, might seem to you without religious signification; but both are models of drums used in the Shinto and the Buddhist temples. This queer tiny table is a miniature sambo: it is upon such a table that offerings are presented to the gods. This curious cap is a model of the cap of a Shinto priest. Here is a toy miya, or Shinto shrine, four inches high. This bunch of tiny tin bells attached to a wooden handle might seem to you something corresponding to our Occidental tin rattles; but it is a model of the sacred suzu used by the virgin priestess in her dance before the gods. This face of a smiling chubby girl, with two spots upon her forehead-a mask of baked clay—is the traditional image of Ame-no-uzume-no-mikoto, commonly called Otafuku, whose merry laughter lured the Goddess of the Sun out of the cavern of darkness. And here is a little Shinto priest in full hieratic garb: when this little string between his feet is pulled, he claps his hands as if in prayer.

  Hosts of other toys are here—mysterious to the uninitiated European, but to the Japanese child full of delightful religious meaning. In these faiths of the Far East there is little of sternness or grimness—the Kami are but the spirits of the fathers of the people; the Buddhas and the Bosatsu were men. Happily the missionaries have not succeeded as yet in teaching the Japanese to make religion a dismal thing. These gods smile for ever: if you find one who frowns, like Fudo, the frown seems but half in earnest; it is only Emma, the Lord of Death, who somewhat appals. Why religion should be considered too awful a subject for children to amuse themselves decently with never occurs to the common Japanese mind. So here we have images of the gods and saints for toys— Tenjin, the Deity of Beautiful Writing—and Uzume, the laughter-loving -and Fukusuke, like a happy schoolboy—and the Seven Divinities of Good Luck, in a group—and Fukurojin, the God of Longevity, with head so elongated that only by the aid of a ladder can his barber shave the top of it—and Hotei, with a belly round and huge as a balloon—and Ebisu, the Deity of Markets and of fishermen, with a tai-fish under his arm—and Daruma, ancient disciple of Buddha, whose legs were worn off by uninterrupted meditation.

  Here likewise are many toys which a foreigner could scarcely guess the meaning of, although they have no religious signification. Such is this little badger, represented as drumming upon its own belly with both forepaws. The badger is believed to be able to use its belly like a drum, and is credited by popular superstition with various supernatural powers. This toy illustrates a pretty fairy-tale about some hunter who spared a badger's life and was rewarded by the creature with a wonderful dinner and a musical performance. Here is a hare sitting on the end of the handle of a wooden pestle which is set horizontally upon a pivot. By pulling a little string, the pestle is made to rise and fall as if moved by the hare. If you have been even a week in Japan you will recognise the pestle as the pestle of a kometsuki, or rice-cleaner, who works it by treading on the handle. But what is the hare? This hare is the Hare- in-the-Moon, called Usagi-no-kometsuki: if you look up at the moon on a clear night you can see him cleaning his rice.

  Now let us see what we can discover in the way of cheap ingenuities.

  Tombo, 'the Dragon-Fly.' Merely two bits of wood joined together in the form of a T. The lower part is a little round stick, about as thick as a match, but twice as long; the upper piece is flat, and streaked with paint. Unless you are accustomed to look for secrets, you would scarcely be able to notice that the flat piece is trimmed along two edges at a particular angle. Twirl the lower piece rapidly between the palms of both hands, and suddenly let it go. At once the strange toy rises revolving in the air, and then sails away slowly to quite a distance, performing extraordinary gyrations, and imitating exactly—to the eye at least—the hovering motion of a dragon-fly. Those little streaks of paint you noticed upon the top-piece now reveal their purpose; as the tombo darts hither and thither, even the tints appear to be those of a real dragon-fly; and even the sound of the flitting toy imitates the dragon-fly's hum. The principle of this pretty invention is much like that of the boomerang; and an expert can make his tombo, after flying across a large room, return into his hand. All the tombo sold, however, are not as good as this one; we have been lucky. Price, one-tenth of one cent!

  Here is a toy which looks like a bow of bamboo strung with wire. The wire, however, is twisted into a corkscrew spiral. On this spiral a pair of tiny birds are suspended by a metal loop. When the bow is held perpendicularly with the birds at the upper end of the string, they descend whirling by their own weight, as if circling round one another; and the twittering of two birds is imitated by the sharp grating of the metal loop upon the spiral wire. One bird flies head upward, and the other tail upward. As soon as they have reached the bottom, reverse the bow, and they will recommence their wheeling flight. Price, two cents— because the wire is dear.

  O-Saru, the 'Honourable Monkey.' [71] A little cotton monkey, with a blue head and scarlet body, hugging a bamboo rod. Under him is a bamboo spring; and when you press it, he runs up to the top of the rod. Price, one-eighth of one cent.

  O-Saru. Another Honourable Monkey. This one is somewhat more complex in his movements, and costs a cent. He runs up a string, hand over hand, when you pull his tail.

  Tori-Kago. A tiny gilded cage, with a bird in it, and plum flowers. Press the edges of the bottom of the cage, and a minuscule wind- instrument imitates the chirping of the bird. Price, one cent.

  Karuwazashi, the Acrobat. A very loose-jointed wooden boy clinging with both hands to a string stretched between two bamboo sticks, which are curiously rigged together in the shape of an open pair of scissors. Press the ends of the sticks at the bottom; and the acrobat tosses his legs over the string, seats himself upon it, and finally turns a somersault. Price, one-sixth of one cent.

  Kobiki, the Sawyer. A figure of a Japanese workman, wearing only a fundoshi about his loins, and standing on a plank, with a long saw in his hands. If you pull a string below his feet, he will go to work in good earnest, sawing the plank. Notice that he pulls the saw towards him, like a true Japanese, instead of pushing it from him, as our own carpenters do. Price, one-tenth of one cent.

  Chie-no-ita, the 'Intelligent Boards,' or better, perhaps, 'The Planks of Intelligence.' A sort of chain composed of about a dozen flat square pieces of white wood, linked together by ribbons. Hold the thing perpendicularly by one end-piece; then turn the piece at right angles to the chain; and immediately all the ot
her pieces tumble over each other in the most marvellous way without unlinking. Even an adult can amuse himself for half an hour with this: it is a perfect trompe-l'oeil in mechanical adjustment. Price, one cent.

  Kitsune-Tanuki. A funny flat paper mask with closed eyes. If you pull a pasteboard slip behind it, it will open its eyes and put out a tongue of surprising length. Price, one-sixth of one cent.

  Chin. A little white dog, with a collar round its neck. It is in the attitude of barking. From a Buddhist point of view, I should think this toy somewhat immoral. For when you slap the dog's head, it utters a sharp yelp, as of pain. Price, one sen and five rin. Rather dear.

  Fuki-agari-koboshi, the Wrestler Invincible. This is still dearer; for it is made of porcelain, and very nicely coloured The wrestler squats upon his hams. Push him down in any direction, he always returns of his own accord to an erect position. Price, two sen.

  Oroga-Heika-Kodomo, the Child Reverencing His Majesty the Emperor. A Japanese schoolboy with an accordion in his hands, singing and playing the national anthem, or Kimiga. There is a little wind-bellows at the bottom of the toy; and when you operate it, the boy's arms move as if playing the instrument, and a shrill small voice is heard. Price, one cent and a half.

  Jishaku. This, like the preceding, is quite a modern toy. A small wooden box containing a magnet and a tiny top made of a red wooden button with a steel nail driven through it. Set the top spinning with a twirl of the fingers; then hold the magnet over the nail, and the top will leap up to the magnet and there continue to spin, suspended in air. Price, one cent.

  It would require at least a week to examine them all. Here is a model spinning-wheel, absolutely perfect, for one-fifth of one cent. Here are little clay tortoises which swim about when you put them into water— one rin for two. Here is a box of toy-soldiers—samurai in full armour —nine rin only. Here is a Kaze-Kuruma, or wind-wheel—a wooden whistle with a paper wheel mounted before the orifice by which the breath is expelled, so that the wheel turns furiously when the whistle is blown— three rin. Here is an Ogi, a sort of tiny quadruple fan sliding in a sheath. When expanded it takes the shape of a beautiful flower—one rin.

  The most charming of all these things to me, however, is a tiny doll— O-Hina-San (Honourable Miss Hina)—or beppin ('beautiful woman'). The body is a phantom, only—a flat stick covered with a paper kimono—but the head is really a work of art. A pretty oval face with softly shadowed oblique eyes—looking shyly downward—and a wonderful maiden coiffure, in which the hair is arranged in bands and volutes and ellipses and convolutions and foliole curlings most beautiful and extraordinary. In some respects this toy is a costume model, for it imitates exactly the real coiffure of Japanese maidens and brides. But the expression of the face of the beppin is, I think, the great attraction of the toy; there is a shy, plaintive sweetness about it impossible to describe, but deliciously suggestive of a real Japanese type of girl-beauty. Yet the whole thing is made out of a little crumpled paper, coloured with a few dashes of the brush by an expert hand. There are no two O-Hina-San exactly alike out of millions; and when you have become familiar by long residence with Japanese types, any such doll will recall to you some pretty face that you have seen. These are for little girls. Price, five rin.

  Sec. 9

  Here let me tell you something you certainly never heard of before in relation to Japanese dolls—not the tiny O-Hina-San I was just speaking about, but the beautiful life-sized dolls representing children of two or three years old; real toy-babes which, although far more cheaply and simply constructed than our finer kinds of Western dolls, become, under the handling of a Japanese girl, infinitely more interesting. Such dolls are well dressed, and look so life-like—little slanting eyes, shaven pates, smiles, and all!—that as seen from a short distance the best eyes might be deceived by them. Therefore in those stock photographs of Japanese life, of which so many thousands are sold in the open ports, the conventional baby on the mother's back is most successfully represented by a doll. Even the camera does not betray the substitution. And if you see such a doll, though held quite close to you, being made by a Japanese mother to reach out his hands, to move its little bare feet, and to turn its head, you would be almost afraid to venture a heavy wager that it was only a doll. Even after having closely examined the thing, you would still, I fancy, feel a little nervous at being left alone with it, so perfect the delusion of that expert handling.

  Now there is a belief that some dolls do actually become alive.

  Formerly the belief was less rare than it is now. Certain dolls were spoken of with a reverence worthy of the Kami, and their owners were envied folk. Such a doll was treated like a real son or daughter: it was regularly served with food; it had a bed, and plenty of nice clothes, and a name. If in the semblance of a girl, it was O-Toku-San; if in that of a boy, Tokutaro-San. It was thought that the doll would become angry and cry if neglected, and that any ill-treatment of it would bring ill- fortune to the house. And, moreover, it was believed to possess supernatural powers of a very high order.

  In the family of one Sengoku, a samurai of Matsue, there was a Tokutaro- San which had a local reputation scarcely inferior to that of Kishibojin —she to whom Japanese wives pray for offspring. And childless couples used to borrow that doll, and keep it for a time—ministering unto it— and furnish it with new clothes before gratefully returning it to its owners. And all who did so, I am assured, became parents, according to their heart's desire. 'Sengoku's doll had a soul.' There is even a legend that once, when the house caught fire, the TokutarO-San ran out safely into the garden of its own accord!

  The idea about such a doll seems to be this: The new doll is only a doll. But a doll which is preserved for a great many years in one family, [72] and is loved and played with by generations of children, gradually acquires a soul. I asked a charming Japanese girl: 'How can a doll live?'

  'Why,' she answered, 'if you love it enough, it will live!'

  What is this but Renan's thought of a deity in process of evolution, uttered by the heart of a child?

  Sec. 10

  But even the most beloved dolls are worn out at last, or get broken in the course of centuries. And when a doll must be considered quite dead, its remains are still entitled to respect. Never is the corpse of a doll irreverently thrown away. Neither is it burned or cast into pure running water, as all sacred objects of the miya must be when they have ceased to be serviceable. And it is not buried. You could not possibly imagine what is done with it.

  It is dedicated to the God Kojin, [73] —a somewhat mysterious divinity, half-Buddhist, half-Shinto. The ancient Buddhist images of Kojin represented a deity with many arms;—the Shinto Kojin of Izumo has, I believe, no artistic representation whatever. But in almost every Shinto, and also in many Buddhist, temple grounds, is planted the tree called enoki [74] which is sacred to him, and in which he is supposed by the peasantry to dwell; for they pray before the enoki always to Kojin. And there is usually a small shrine placed before the tree, and a little torii also. Now you may often see laid upon such a shrine of Kojin, or at the foot of his sacred tree, or in a hollow thereof—if there be any hollow—pathetic remains of dolls. But a doll is seldom given to Kojin during the lifetime of its possessor. When you see one thus exposed, you may be almost certain that it was found among the effects of some poor dead woman—the innocent memento of her girlhood, perhaps even also of the girlhood of her mother and of her mother's mother.

  Sec. 11

  And now we are to see the Honen-odori—which begins at eight o'clock. There is no moon; and the night is pitch-black overhead: but there is plenty of light in the broad court of the Guji's residence, for a hundred lanterns have been kindled and hung out. I and my friend have been provided with comfortable places in the great pavilion which opens upon the court, and the pontiff has had prepared for us a delicious little supper.

  Already thousands have assembled before the pavilion—young men of Kitzuki and young peasants from the envir
ons, and women and children in multitude, and hundreds of young girls. The court is so thronged that it is difficult to assume the possibility of any dance. Illuminated by the lantern-light, the scene is more than picturesque: it is a carnivalesque display of gala-costume. Of course the peasants come in their ancient attire: some in rain-coats (mino), or overcoats of yellow straw; others with blue towels tied round their heads; many with enormous mushroom hats—all with their blue robes well tucked up. But the young townsmen come in all guises and disguises. Many have dressed themselves in female attire; some are all in white duck, like police; some have mantles on; others wear shawls exactly as a Mexican wears his zarape; numbers of young artisans appear almost as lightly clad as in working-hours, barelegged to the hips, and barearmed to the shoulders. Among the girls some wonderful dressing is to be seen—ruby-coloured robes, and rich greys and browns and purples, confined with exquisite obi, or girdles of figured satin; but the best taste is shown in the simple and very graceful black and white costumes worn by some maidens of the better classes—dresses especially made for dancing, and not to be worn at any other time. A few shy damsels have completely masked themselves by tying down over their cheeks the flexible brims of very broad straw hats. I cannot attempt to talk about the delicious costumes of the children: as well try to describe without paint the variegated loveliness of moths and butterflies.

  In the centre of this multitude I see a huge rice-mortar turned upside down; and presently a sandalled peasant leaps upon it lightly, and stands there—with an open paper umbrella above his head. Nevertheless it is not raining. That is the Ondo-tori, the leader of the dance, who is celebrated through all Izumo as a singer. According to ancient custom, the leader of the Honen-odori [75] always holds an open umbrella above his head while he sings.