The bath proper is a great, covered tank, full of hot water, with a terrace-work of planks9 sloping down on the four sides, where you sit and wash. The ceiling is low enough to bump your head unless you are cautious; it projects forward and stoops to prevent the steam from escaping unnecessarily; therefore, even when it is lighted within, it is twilight10, owing to the confined vapor11. One feels in it as if working in a mine or tunnel. Older men discuss town topics and business, and young men hum popular airs as they bathe, and intimate friends press each other to rub down their backs. The water is kept warm by a huge metallic12 heater behind, which is in communication with the tank but covered with planks so as not to scald the bathers' feet. In case the water proves too hot, the bathers consult each other's comfort courteously13, and one of them claps his hands. It is answered by a sound at the entrance stand, and immediately cold water spouts14 into the tank. Then the men stir the tank thoroughly15 on all sides. Being but a child I took great delight in the excitement. I would creep up to the hole and plug it with my wet towel, and after a few minutes pull it out abruptly16 to see the water spurt17 forth18 with redoubled energy. The wall has usually a small door; pushing it open the fireman peeps in occasionally, when there is too much noise. The first time I noticed it, I was almost scared out of my wits; for, happening to look around, I saw on the dim wall a grim human head staring me in the face.
Between the tank and the floor is a space paved with large, flat, rectangular stones and cemented with mortar19, where the people who think it too close in the tank can step out and wash, sitting on long, narrow benches; in some baths this place is overlaid with planks in such a manner that water can trickle20 down between them. Here we may use soap, but not in the tank. Several small wooden tubs are near at hand; with them we pour the hot water over our body after rubbing, and in them we give our towels a final clean-water washing when through using them. The clear, cold water for the latter purpose is constantly bubbling up in a shallow, well-like enclosure hard by. A couple of dippers float in it, and the people also drink of the water, if thirsty. In well-regulated baths, near the cold-water enclosure is a hot water cistern21, constantly fed through a bamboo pipe with boiling water that has not been used. People of cleanly habits, on emerging from the common tank, dip out this fresh, warm water and bathe again. Of course, it would be objectionable to retain the same water in the tank all day and have people bathe in it over and over; as a matter of fact, a portion of it is drawn22 off at intervals23 and replaced with a fresh supply.
The ladies' side is precisely24 the same in arrangement as the gentlemen's; a partition, however, separates them completely.
If you meet a man on the street in Japan with a wet towel hanging on his shoulder, he is from the public bath. He wears no hat even in sallying forth into the open air from the confined atmosphere, walks leisurely25 along, dragging the high clogs and feeling thoroughly comfortable. In summer evenings, while maidens26, mothers and children are cooling themselves in the breeze on movable platforms in front of their residences, young men from the bath come strolling up, inquire politely after their health and make themselves agreeable. As the after-bath garment and towel are to be thus exhibited before the eyes of their admirers new fashions arise every year in regard to them. The fashion changes not so much in tailoring as in the color and pattern.
We are not without private baths, too. Large aristocratic families are all provided with them. The bath-house is usually fitted up in a wing at the back of the building; in it a tub large enough to admit a person in a squatting28 position is placed on a caldron. The loose wooden bottom of the tub is left floating while the water boils, serving as the cover; it is fastened afterward29. The head of the family goes in first; after him, his wife; then come their children, beginning with the eldest30; after them follow the domestics, ranged according to their relative importance.
Evenings at home were always spent very pleasantly, especially before my sisters were married and went away. There were four of them, excluding the eldest who had left us a good while ago, but used to visit us, and add to our gayety. What did we do to enjoy ourselves? We had music and dancing very often, singing, of course, parties to which our best friends came, games of cards, social chat and fireside talk—whatever goes to make home attractive. Mother took great interest in them herself; she chaperoned the girls—we had young ladies of the neighborhood come to us, and our house was looked upon as one of the social foci of little Imabari. But a reverse in my father's fortune and frequent change of abode32 put an end to those happy days of yore.
Japanese dancing, I declare without prejudice, is more elaborate and graceful33 than your round and square dances, but may not be as fascinating; ladies and gentlemen do not dance together. Moreover, our dancing is not anything that can be picked up at balls and receptions, nor is it learned by hopping34 and skipping at the dancing academy. In fact, it is not the simple keeping time with music, not repetitions of the same steps over and over again; it is composed of posturing35 and is more like acting36, though the man?uvres are predetermined, in regular order, and not left to the dancer's fancy. Here in America dancing is easily acquired by persons who have an ear for music and grace of carriage, and after having learned to waltz "elegantly" or "divinely" they have practically mastered all other figures. In Japan, each figure is emphatically a new one, and there are many, many figures with distinct names; one cannot learn them all—each figure requires a separate effort for its mastery. A dance lasts twenty minutes or more; scarcely two steps in it seem alike. In learning a Japanese dance one begins with little tosses of the head, engaging sways of the body and easy movements of the extremities37.
Many young girls of the town practised the primary exercises in our house; they came to ask assistance of my second sister, who excelled the rest in dancing. I see her vivacious38 figure trip up to a beginner, who struck an awkward attitude, and correct a twist of the neck as the barber and the photographer fix their customers' heads. She taught my youngest sister very thoroughly in all the dances she knew, and after that mother put Mitsu (that is the name of my little sister) under the special tuition of a lady who had just then arrived from Osaka, a great centre of enjoyment39 and politeness. The dancing mistress had a very pretty adopted daughter who assisted her, and they together aroused enthusiasm among the people of Imabari in the art of grace. A society formed itself naturally with the lady as the nucleus40, and a scheme was projected for a public exhibition of dances. The parents of the dancing children manifested more zeal41 than the children themselves. As they came in for it with willing heart and liberal hand, the scheme was pushed forward with surprising rapidity. A mammoth42 curtain was made that was to be hoisted43 in the theatre where the brilliant events were to take place; it had painted on it numerous big fans, and on the fans were written the names of the members. My big brother was busily engaged in painting scenes and constructing apparatus44, my sisters were diligently45 selecting stage dresses for Mitsu. And then the young ladies met in our place to rehearse the dances, songs and instrumental music, that made us still more agreeably busy. Weeks were spent in preparation; and when it came off at last, the entertainment was a grand affair continuing for several days; the town turned out in a body. It was more like successful theatricals46 than anything, and was repeated once or twice afterwards, with the substitution for the former dances of many equally classical pieces.
All the dances are accompanied by songs and instruments. The instrument most commonly used is the samisen; it looks somewhat like a banjo, but is much larger and has a square body instead of a round one; the wood-work is of mahogany. In playing it the touching47 is not done with the fingers, but with a plectrum of ivory. The samisen is capable of giving out both the mellow48 notes of the guitar and the sharp tone-sprays of the banjo. You hear it played in Japanese homes to the same extent as the piano is in this country. We had in our family two or three samisens, and every day my sisters practised on them.
Other instruments of music are the koto, the tsuzumi and the drum. The koto is a heavy, thirteen-stringed instrument, of which by mere49 description I can hardly give an idea. The player sits before it, and with claws fitted to the fingers of both hands plays at the two ends. The tsuzumi is an hour-glass-shaped drum which is tapped with the right hand. Two tsuzumis are frequently played by a single person; a light tsuzumi is laid on the right shoulder and held by the left hand, and a heavy tsuzumi is rested on the left knee slightly elevated and pressed down with the left elbow; the right hand is free to move between the two tsuzumis which it beats. The light tsuzumi emits a soft tone, the heavy one a deep sound. The stroke, unless skillfully performed, often inflicts50 a violent injury to the fingers. The vellum of the tsuzumi is of fox skin and yellow in color, that of the samisen is of cat skin and white as snow. The drum is not the sort drubbed in a military band; it is smaller and more moderate in its intonation51.
These instruments,—the koto, samisen, taiko (drum) and tsuzumi are frequently played in concert; the samisen players—two of them, at any rate, to one of the others—sing in high pitch while their supple52 fingers twinkle across the chords; the taiko and tsuzumi beaters shriek53 now and then as they thrum and whack54. Do I like it? Isn't it hideous55? Well, I can't say how it would strike me now; yet I used to think it all very fine.
There is another stringed instrument, a ridiculously simple one that I liked best. It is named ichigecckin.[1] A plain board, a few feet in length, and a few inches in width, with no other ornament56 than half a dozen Chinese characters written on it to indicate the various keys: only a single string along the whole length; a bamboo ring for the middle finger of the left hand to touch on the keys; and a small flat piece of horn to pick the string with: these make up an ichigecckin. The origin of this unpretentious instrument is said to be as follows: a high court noble of amiable57 disposition58 and poetic59 temperament60 on his way southward from the ancient palace in Kioto, years ago, was obliged to moor61 near the beautiful shores of Akashi on account of a heavy storm. The sea tossed about his boat; the sky stretched gray; the thatch62 overhead became soaked in the rain; the wind sighed among the pines on the deserted63 shore. A sense of loneliness weighed on his gentle nature. The fading landscape in the dusk, the mournful cry of a sea-gull, the sight of a boat miles away laboring64 in the waves, peradventure laden65 with lives—all conspired66 to produce in him a sadness more than human. In order to beguile67 his ennui68, he constructed himself a rude musical instrument with a board and string, and poured out the feelings of the hour in many a celebrated69 tune31. The ichigecckin music is low and simple and sweet. On rainy nights, when the candle burns dim and all is quiet, I feel most in the mood to listen.
[1]in today's known spelling: ichigenkin (transcriber)
Japanese music is in a crude state of development; there are no written notes to go by in playing, nor in singing is there any system like your "Do, Re, Mi, etc," to depend upon. As yet it is strictly70 an art and not a science; one is obliged to get it by observation, imitation and practice. Music is taught by lady teachers; but a set of blind men, who perform massage71 for a livelihood72, take scholars, likewise. They have their heads shaved, walk abroad alone, feeling their way with sticks; some of them have been to Osaka and Kioto for a musical degree, conferred on them in certain schools. In Japan music is not divided into the vocal73 and the instrumental; the two are always taught together by the same instructor74.
Vocal cultivation75 is conducted in a singular way. During the winter the girl in training clothes herself comfortably, takes a samisen and ascends76 every cold night the scaffold erected77 on the roof of the house for drying purposes. There she sits for hours together amid the howling blasts, singing defiantly78 and banging away courageously79 at the samisen. Upon her coming down, she is found worse than hoarse80; she can hardly utter a word. The training is observed persistently81 until her former voice has entirely82 left her and gradually a clear new voice, as it were, breaks out in the harshness. This voice can stand a storm. The discipline is now over, a little care needs only to be exercised in the maintenance of the acquired voice. The practice, I am well aware, will hardly commend itself to the gentlewomen of this republic, who are wrapped all winter long in furs and seal-skins and would not think for a moment of leaving the chimney corner. In my fancy I hear them repel83 it with their passionate84 "What an idea!" Therefore, I conclude it prudent85 to say nothing in praise of the barbarous measure, and simply state the plain fact that it has produced many an Apollo in Japan. In the other seasons of the year, after having screamed out her worthless voice, the girl takes a dose of pulverized86 ginger87 and sugar to tone up the vocal chords.
I digressed from dancing to music; now I wish to return to dancing again for a few moments. In parlor88 gatherings89 and sociables light pieces are presented; and such small things as fans, towels, masks, umbrellas, bells, tambourines90 only are used in dancing. Fans are most commonly used, many astonishing tricks being played with them. The guests sit in a body off the arena91, where the dancer steps out; the samisen player tunes92 the instrument on one side. The preliminary chords ring; then come the words in song, and in accordance with them the actions of the dancer. The dances intended for the stage are much more elaborate. Scenes are to be fitted up; varieties of gew-gaws,—artificial flowers, falling paper snow, fallen woolly-cotton snow, painted waves, the outline of a boat, a lantern moon, a gilded93 paper crown, baskets, shells, a wooden scythe94, a toy tub, high clogs, yards of white silk, etc., etc.,—are to be procured95. These vain, empty articles rise up in my mind, for I used to see them stowed away in the dusty garret. They were jostled about by other things, lay in everybody's way, became mutilated, and fully8 repaid the glory they had received one night behind the foot-lights. We have spent time and money in getting them up, however; certain things we have even sent for to Osaka or Kioto. I remember seeing my sister practise day after day dancing with the aforementioned long white silk scarfs. The dance was to represent the process of bleaching96 by a famous maiden27 (named Okané) who dwelt beside Lake Biwa. Of all sorts of waves and undulations and flutterings she had to produce with them I recollect97 one:—it is to shake one scarf right and left horizontally overhead, and the other up and down longitudinally in front. Try it with your hands and see, reader: you will find it no easy task. In the stage dances the dancers must dress true to the conceptions of the characters they undertake to represent. This necessitates98 a large wardrobe, though the gorgeous costumes are generally made of cheap materials, and the aid of artificial lights is expected to finish off the effects. The face of the dancer is usually painted, but not so much so as that of a professional actress. The whole affair, however, savors99 strongly of stage-play. Several persons sometimes dance together, carry on dialogues and, indeed, dance part of a play or drama.
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1
repose
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| v.(使)休息；n.安息 | |
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thither
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| adv.向那里；adj.在那边的，对岸的 | |
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proprietor
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| n.所有人；业主；经营者 | |
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clogs
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| 木屐； 木底鞋，木屐( clog的名词复数 ) | |
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lockers
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| n.寄物柜( locker的名词复数 ) | |
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strings
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| n.弦 | |
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texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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planks
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| （厚）木板( plank的名词复数 )； 政纲条目，政策要点 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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vapor
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| n.蒸汽，雾气 | |
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metallic
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| adj.金属的；金属制的；含金属的；产金属的；像金属的 | |
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13
courteously
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| adv.有礼貌地，亲切地 | |
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spouts
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| n.管口( spout的名词复数 )；（喷出的）水柱；（容器的）嘴；在困难中v.（指液体）喷出( spout的第三人称单数 )；滔滔不绝地讲；喋喋不休地说；喷水 | |
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15
thoroughly
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| adv.完全地，彻底地，十足地 | |
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abruptly
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| adv.突然地，出其不意地 | |
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spurt
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| v.喷出；突然进发；突然兴隆 | |
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forth
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| adv.向前；向外，往外 | |
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mortar
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| n.灰浆，灰泥；迫击炮；v.把…用灰浆涂接合 | |
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20
trickle
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| vi.淌，滴，流出，慢慢移动，逐渐消散 | |
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cistern
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| n.贮水池 | |
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22
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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24
precisely
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| adv.恰好，正好，精确地，细致地 | |
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leisurely
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| adj.悠闲的；从容的，慢慢的 | |
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maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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27
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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28
squatting
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| v.像动物一样蹲下( squat的现在分词 )；非法擅自占用（土地或房屋）；为获得其所有权；而占用某片公共用地。 | |
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29
afterward
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| adv.后来；以后 | |
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eldest
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| adj.最年长的，最年老的 | |
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31
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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32
abode
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| n.住处，住所 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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hopping
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| n. 跳跃 动词hop的现在分词形式 | |
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posturing
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| 做出某种姿势( posture的现在分词 ) | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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extremities
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| n.端点( extremity的名词复数 )；尽头；手和足；极窘迫的境地 | |
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38
vivacious
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| adj.活泼的，快活的 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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nucleus
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| n.核，核心，原子核 | |
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41
zeal
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| n.热心，热情，热忱 | |
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42
mammoth
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| n.长毛象；adj.长毛象似的，巨大的 | |
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43
hoisted
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| 把…吊起，升起( hoist的过去式和过去分词 ) | |
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44
apparatus
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| n.装置，器械；器具，设备 | |
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45
diligently
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| ad.industriously;carefully | |
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46
theatricals
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| n.（业余性的）戏剧演出，舞台表演艺术；职业演员；戏剧的( theatrical的名词复数 )；剧场的；炫耀的；戏剧性的 | |
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47
touching
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| adj.动人的，使人感伤的 | |
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48
mellow
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| adj.柔和的；熟透的；v.变柔和；(使)成熟 | |
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49
mere
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| adj.纯粹的；仅仅，只不过 | |
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50
inflicts
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| 把…强加给，使承受，遭受( inflict的第三人称单数 ) | |
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51
intonation
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| n.语调，声调；发声 | |
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52
supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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53
shriek
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| v./n.尖叫，叫喊 | |
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54
whack
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| v.敲击，重打，瓜分；n.重击，重打，尝试，一份 | |
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55
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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56
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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57
amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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58
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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59
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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temperament
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| n.气质，性格，性情 | |
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61
moor
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| n.荒野，沼泽；vt.(使)停泊；vi.停泊 | |
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62
thatch
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| vt.用茅草覆盖…的顶部；n.茅草(屋) | |
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63
deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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64
laboring
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| n.劳动，操劳v.努力争取(for)( labor的现在分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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66
conspired
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| 密谋( conspire的过去式和过去分词 )； 搞阴谋； （事件等）巧合； 共同导致 | |
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67
beguile
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| vt.欺骗，消遣 | |
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68
ennui
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| n.怠倦，无聊 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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strictly
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| adv.严厉地，严格地；严密地 | |
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71
massage
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| n.按摩，揉；vt.按摩，揉，美化，奉承，篡改数据 | |
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livelihood
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| n.生计，谋生之道 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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instructor
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| n.指导者，教员，教练 | |
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75
cultivation
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| n.耕作，培养，栽培（法），养成 | |
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76
ascends
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| v.上升，攀登( ascend的第三人称单数 ) | |
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ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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defiantly
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| adv.挑战地，大胆对抗地 | |
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courageously
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| ad.勇敢地，无畏地 | |
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hoarse
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| adj.嘶哑的，沙哑的 | |
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persistently
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| ad.坚持地；固执地 | |
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82
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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repel
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| v.击退，抵制，拒绝，排斥 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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prudent
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| adj.谨慎的，有远见的，精打细算的 | |
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86
pulverized
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| adj.[医]雾化的，粉末状的v.将…弄碎( pulverize的过去式和过去分词 )；将…弄成粉末或尘埃；摧毁；粉碎 | |
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87
ginger
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| n.姜，精力，淡赤黄色；adj.淡赤黄色的；vt.使活泼，使有生气 | |
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parlor
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| n.店铺，营业室；会客室，客厅 | |
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gatherings
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| 聚集( gathering的名词复数 )； 收集； 采集； 搜集 | |
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90
tambourines
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| n.铃鼓，手鼓( tambourine的名词复数 )；（鸣声似铃鼓的）白胸森鸠 | |
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91
arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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92
tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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gilded
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| a.镀金的，富有的 | |
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scythe
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| n. 长柄的大镰刀，战车镰； v. 以大镰刀割 | |
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procured
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| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
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bleaching
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| 漂白法，漂白 | |
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recollect
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| v.回忆，想起，记起，忆起，记得 | |
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98
necessitates
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| 使…成为必要，需要( necessitate的第三人称单数 ) | |
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savors
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| v.意味，带有…的性质( savor的第三人称单数 )；给…加调味品；使有风味；品尝 | |
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