This young man felt from his childhood a passion for the stage. As he grew up his dramatic taste became irresistible10; at last, escaping the vigilance of his family, he ran away to the neighboring province of Tosa (ours is Iyo), and committed himself to the care of a noted11 actor named Hanshirō. The young man told us how he had been launched in tile work; the actor-apprentice, when admitted to the stage, is obliged to put on rags and help make up the mob or a gang of thieves. In order to make a hero's power appear greater by contrast, it is a stage trick in Japan that the mob, thieves, and characters of that sort should turn somersaults at the hero's simple lifting of his hand. It is a sight to be seen when a swarm12 of them around one brave person turn in the air and light safely upon their feet; they do it so very deftly13 that they must practice a great deal. Our friend first practiced the acrobatic feat14 on a thick quilt for fear that he might break his neck. In time, however, he could do it on the hard wooden stage floor. After filling this gymnastic r?le for some time, he was promoted by degrees to more important posts. By reason of his personal attractions he was at his best as a gallant15 youth. I have observed many a fair spectator flush visibly, heave gentle sighs and watch him in absorption while he delivered a love soliloquy in a clear voice.
He did become an actor in the fullest sense of the term and a creditable one, too; but having satisfied his long cherished desire for once (a space of several years), he obeyed the paternal16 summons and returned home. He then went into business and fairly settled down to earnest life. Nevertheless, at times his roving nature got the better of him, and the young man would be missed from home. Soon the news arrives from somewhere that he is displaying his dramatic talents with a theatrical17 company to the utmost delight of the people, and that the showers of favors and tokens of their appreciation18 visit him constantly. But the manner in which his aged19 parents take the affair is by itself a bit of good comedy. They bemoan20 themselves over their son's unsteady life, and often in their visit to us seek our condolence. Notwithstanding the apparent sorrow, whenever their boy has been heard to make a "decided21 hit" none are more pleased than they. The old couple, being themselves fond of gayety, extended a helping22, willing hand to the dancing society wherein their son moved actively23. It was, indeed, under the supervision24 of the good old gentleman that the huge curtain was completed; I think he designed and painted it mostly by himself.
Our young friend's presence in town naturally gave rise to a race of amateur actors. One of them particularly I recall with great interest on account of his diverse accomplishments25; he tried his hand at almost every trade. I believe certain peculiarities26 in his childhood induced his parents to put him in a monastery27. He grew up a studious boy, but indulged not infrequently in pranks28. Suddenly in his early manhood it dawned upon him that he was richly endowed with the stage gift; accordingly, he left the temple behind, and, after clerking a while in his brother's store across the street from us, appeared on the stage. His versatile29 nature did not keep him long in that vocation30; he soon sobered down to a shoemaker, discovering that the bread earned by the sweat of the brow was more to his satisfaction. That is, I concluded so in his case; he may have found, for aught I know, that by acting31 (such as his) he could not make a decent living and therefore had better quit playing. He was not long in making another discovery, and that was that the drudgery32 of the shop did not exactly suit his refined tastes. At all events, he must take a little air sometimes; he would go about the streets selling greens; yes, that was a splendid plan, combining trade and exercise. And so he turned a vegetable vender33 this time, nobody regarding it a too humble34 occupation in such a small community as ours. Later he became an amazaké man. The amazaké (sweet liquor) is prepared by subjecting soft boiled rice to saccharine35 fermentation and checking the process just at the point where the sugar gives up its alcohol. Hence it is sweet, palatable36 and very popular with children. We brewed37 some at home—the home-brewed. My mother had hard work to satisfy the large family of thirsty mouths.
Our man of all trades went about asking the public in all the notes of the gamut38, if they would not tickle39 their palates with his honest "sweet liquor." To be always on foot as an itinerant40 tradesman, however, proved too much for his constitution. I will not take it upon me to enumerate41 in what other things he tried his hand; I hasten on to inform my curious reader that he shaved his head again and joined the priesthood, perfectly42 content with his diverse worldly experiences. In spite of his fickleness43 he was an honest fellow and passed for a tolerable humorist among his friends.
There was another of the number, the keeper of the tavern44 at the foot of a bridge that spans the little stream running through Imabari town. His figure was tall, imposing45, and his expression disposed one to suspect him of a malicious46, bitter character. Nature is often capricious; she was certainly capricious in this instance, for into this mould of a man she had infused a nature the most complacent47 and the most obliging. His comrades assigned him the part of a villain48 or a cruel lord. To the eye familiar with his every-day life he figured helplessly as a villain with a good heart, and seemed to spare unnecessary stabs at his victim. Yet he was scrupulously49 conscientious50 in the execution of his r?le; not a word would he omit in his speech. Once in playing a wicked lord, in order to assist the memory he copied his entire part on the face of a flat, oblong piece of wood, which he had all the time to bear erect51 before him as an ensign of authority. At first on the stage he was wonderfully eloquent53, not a flaw occurred in his long speech. But unfortunately in the midst of an invective54 the sceptre slipped off his hand. His lordship's confusion was not to be described. He paused as if to give an effect of indignation, then tried to think of the rest of the harangue55; it did not come. The pause was prolonged to his own uneasiness as well as to his friends. He now cast about for a decent means of taking himself off the stage. Finally with a calm, venerable, haughty56 air, amid giggles57 and suppressed laughter, my lord stalked off behind the scene.
Through these people we became acquainted with several professional players. Some people in Japan become quite enthusiastic over their favorite actors and wrestlers; they present them with beautiful posters, on which are stated their gifts, exaggerated above their actual value. These posters are pasted on all sides of the theatre or the arena58 for display. At the entrance to the house of amusement stands a tower, where a small drum of very high pitch is struck for some time previous to the opening of the performance. The admission to the theatre ranges from five to twenty-five sens (cents). The stage and the inside as a whole are much larger than any metropolitan59 or local play-house that I have seen in America. I admit that most of our theatres are neither carpeted nor furnished with chairs, nor are they lighted with gas, nor heated. The parquet60 is divided into pits by bars, each admitting barely four persons in a squatting61 position; the bars can be removed, uniting the small pits into one large pit of any dimensions, if a party so desire. There are also what will correspond to the dress circle and the family circle. They do not protrude62 over the parquet, but simply line the walls like balconies. In the parquet the floor is not raised at the end farther from the stage; therefore, if Japanese ladies were to wear tall hats it would be the doomsday for gentlemen: but luckily the fair members of our community take no pride in the towering head ornaments63: really they wear none. I have been speaking as if the parquet were floored; in fact, you have to sit close to the ground, mats and quilts of your own providing alone protecting you from the damp earth.
The people bring lunch with them to eat between the acts. I have the fond remembrance of my family astir over the preparation of the lunch on the day we go to see a play. We must take things we shall not be ashamed of spreading before the public; and all the more must we be careful in selecting our dishes, for not infrequently we beckon64 to our acquaintances in the audience to pass away with us the usual long, wearisome intervals65 of the Japanese theatre, during which time no music is played as in the American theatre. Of course, we must take boiled rice; it is our bread. Nobody thinks of forgetting the bread. It is not, however, carried in its bare, glutinous66 form; it is made into triangular67, round or square masses and rolled in burned bean powder. In the collation68 at the theatre we dispense69 with the bowls and chopsticks, and use fingers in picking up the mouthfuls of rice. Of various other dishes I give up the cataloguing in despair, for my ingenious countrywomen regale70 us with—the Lord knows how many kinds. The delicacies71 are packed in several lacquered boxes, and the boxes piled one over another and wrapped in a broad piece of cloth, whose four corners are then tied on the top. When the savory72 burden is being carried, there usually dangles73 by it a gourd74 full of saké. The Japanese world takes no note of drinking; the saké is, moreover, mild, and, although sipped75 on all occasions as freely as tea, is seldom drunk to excess.
Next to the refreshment76 preparation is the getting ready of the girls. They spend half their life in dressing77. I never was very patient; in waiting for them I was exasperated78. They would lean over against the glass (or in reality a metallic79 mirror) in the Yum-Yum fashion for an interminable period of time, tying the girdles over fifty times before deciding upon one style, touching80 and retouching the coiffures, and practicing the exercise of grace. "Oh, hurry up!" I cry repeatedly in infinite chagrin81, and at last become irritated beyond decency82, when my mother in her persuasive83, firm manner desires me to know that there is time enough. I always acquiesced84 in mother's decisions, because I did not like to have her call in the assistance of father. I can tell you what he would do! He would not say a word; he would curtly85 command me to sit beside him in the store, where people could look at me—my tears, sobs86, quivering lips and all the rest of the woe87. Out of shame in the exposure I would gradually compose myself, and not till I had fully52 recovered my temper would my father release me. I think he never struck me or my brother anywhere; the only time I saw him use force was in holding fast my little brother, who once undertook some brave proceedings88 against him.
The theatre usually begins late in the afternoon or early in the evening, and lasts till past midnight. In front of the stage are two large basins of vegetable oil with huge bunches of rush-wicks. They are the main sources of light; the foot-lights are a row of innumerable wax-candles; and when an actor is on the stage, men in black veils attend him with lighted candles stuck on a contrivance like a long-handled contribution box. Wherever he goes, there go with him these walking candlesticks. When he exerts himself briskly, as in a combat, with what funny jerks and fanciful motions do these mysterious lights fly round, often flickering89 themselves out! In the era of gas and electric light what a bungling90 machinery91 all this is!
The orchestra does not sit at the foot of the stage; it occupies a box on one side. It consists of the samisen, a big heavy bell, a drum, a flute92, a conch shell and occasional singing. Over the orchestra-box is a compartment93 hung with a curtain woven with fine split bamboos, wherein sit two men—one with a book on a stand, the other with a stout94 samisen. The former explains in a harsh-voiced recital95 the situation of the affairs now acted before the audience, the latter keeps time with the instrument.
The dramas are mostly historical; we have no opera. In Japanese plays the passion of love takes but a subordinate rank, the paramount96 importance being accorded to loyalty97, the spirit of retaliation98 and devotion to parents. Harakiri, or the cutting open of one's own abdomen99 in way of manly100 death, so time-honored and deeply believed in among the ancient samurai (soldier) class, is acted in connection with certain plays. It is an impressive, solemn scene. The valiant101 unfortunate stabs himself with a poniard, measuring exactly nine inches and a half, struggles with agony, shows manifold changes of expression, makes his will in a faltering102 voice, and leaves injunctions to the weeping relatives and faithful servants gathered round him; writhing103 in distress104, yet undaunted in presence of cool, examining deputies, he ends his mortal life by the final act of driving the blood-stained iron into the throat.
One strange fact respecting the theatrical profession in our country is the anomaly that men act women's parts. We have few or no actresses. The taste of the people took a curious turn in its development; they consider those actors perfect who can deceive them most dexterously105 in female outfits106. Acting has been from ages past regarded as a profession exclusively for men; their wives travel with them as a sort of slave in assisting their masters and husbands in painting and dressing behind the scene. Therefore, once when a company of women went about giving entertainments there was a considerable stir over the novelty: they soon became known as the "female theatre." In this party there were few or no men, the women assuming male characters. These actresses established fame on their wonderfully natural delineations of masculine traits.
We have known a young actor, whose boyhood was spent in Imabari, make a mark in representing female characters. He copied the grace and deportment of the fair sex archly. We took great interest in him, for he was a good, quiet, sensible fellow, and his parents had formerly107 dwelt near and befriended us. But my friends were wont108 to comment that his neck was a jot109 too full for that of a female. He could not help that; the corpulency of that member was a freak of nature; he was not at all responsible for it. Discreetly110 he tried none of your fooleries with dieting to reduce it; some females, you know, are not very slender-necked either; he might have taken comfort in that. At any rate, his manners were thoroughly111 feminine, and his womanly way of speaking a woman herself could not imitate. Our friend is now gone to a metropolis112, where he is winning his way into the hearts of the millions. Prosperity and success to his name!
When the "female theatre" troupe113 was in Imabari, through somebody's introduction we got acquainted with certain of their number. We asked them to call at our house. They did so. We observed no trace of forwardness in them; instead, they, all of them, seemed quite reticent114. I remember a dear little creature, Kosei (Little Purity) by name, among them. She was perfectly at ease in playing a rollicking little rogue115 before the crowd, but now hung her head timidly and lifted stealthily her big round eyes to us. She had a sweet, pretty little mouth. Where can that poor, mischievous116, pretty waif be knocking about in the wide world now-a-days? Perhaps she is grown up and uninteresting, if yet living.
I can recall even what we gave them that evening with which to refresh themselves. We ordered the zenzai or its ally, the shiruko, at the establishment round the corner. The shiruko seems like hot, thick chocolate, with bits of toast in it. The chocolate part is prepared of red beans, and the toast is the browned mochi (rice-cake). To provide for any among them that did not love sweet things we had the soba or the udon brought to us by their vender. The soba is a sort of vermicelli made of buckwheat, and the udon a kind of macaroni, solid and not in tubes. The warm katsuwo sauce is plentifully117 poured over them, and they are eaten with chopsticks. The katsuwo sauce is prepared of the katsuwobushi and the shoyu. The first named article is a hard substance shaped somewhat like the horn of an ox, and manufactured of the flesh of certain fish, whose vernacular118 name is katsuwo. A family cannot get along without it. In preparing the sauce, the katsuwobushi is simply chipped and simmered in a mixture of water and the shoyu. The shoyu is a sauce by itself and brewed of wheat, beans and salt. As its use in domestic cookery is very wide, the demand for it is correspondingly great; and the shoyu brewing119 is as big a business as the saké manufacturing.
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1
afterward
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| adv.后来；以后 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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wares
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| n. 货物, 商品 | |
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scrolls
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| n.（常用于录写正式文件的）纸卷( scroll的名词复数 )；卷轴；涡卷形（装饰）；卷形花纹v.（电脑屏幕上）从上到下移动（资料等），卷页( scroll的第三人称单数 )；（似卷轴般）卷起；（像展开卷轴般地）将文字显示于屏幕 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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extravagantly
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| adv.挥霍无度地 | |
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confide
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| v.向某人吐露秘密 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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noted
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| adj.著名的，知名的 | |
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swarm
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| n.(昆虫)等一大群；vi.成群飞舞；蜂拥而入 | |
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deftly
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| adv.灵巧地，熟练地，敏捷地 | |
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feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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paternal
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| adj.父亲的，像父亲的，父系的，父方的 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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aged
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| adj.年老的，陈年的 | |
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bemoan
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| v.悲叹，哀泣，痛哭；惋惜，不满于 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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actively
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| adv.积极地，勤奋地 | |
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supervision
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| n.监督，管理 | |
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accomplishments
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| n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就 | |
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peculiarities
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| n. 特质, 特性, 怪癖, 古怪 | |
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monastery
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| n.修道院，僧院，寺院 | |
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pranks
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| n.玩笑，恶作剧( prank的名词复数 ) | |
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versatile
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| adj.通用的，万用的；多才多艺的，多方面的 | |
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vocation
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| n.职业，行业 | |
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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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drudgery
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| n.苦工，重活，单调乏味的工作 | |
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vender
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| n.小贩 | |
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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saccharine
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| adj.奉承的，讨好的 | |
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palatable
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| adj.可口的，美味的；惬意的 | |
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brewed
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| 调制( brew的过去式和过去分词 )； 酝酿； 沏（茶）； 煮（咖啡） | |
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gamut
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| n.全音阶，(一领域的)全部知识 | |
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tickle
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| v.搔痒，胳肢；使高兴；发痒；n.搔痒，发痒 | |
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itinerant
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| adj.巡回的；流动的 | |
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enumerate
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| v.列举，计算，枚举，数 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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fickleness
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| n.易变；无常；浮躁；变化无常 | |
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tavern
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| n.小旅馆，客栈；小酒店 | |
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45
imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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malicious
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| adj.有恶意的，心怀恶意的 | |
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complacent
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| adj.自满的；自鸣得意的 | |
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villain
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| n.反派演员，反面人物；恶棍；问题的起因 | |
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49
scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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50
conscientious
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| adj.审慎正直的，认真的，本着良心的 | |
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51
erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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52
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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53
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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54
invective
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| n.痛骂，恶意抨击 | |
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55
harangue
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| n.慷慨冗长的训话，言辞激烈的讲话 | |
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56
haughty
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| adj.傲慢的，高傲的 | |
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57
giggles
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| n.咯咯的笑( giggle的名词复数 )；傻笑；玩笑；the giggles 止不住的格格笑v.咯咯地笑( giggle的第三人称单数 ) | |
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58
arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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metropolitan
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| adj.大城市的，大都会的 | |
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parquet
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| n.镶木地板 | |
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61
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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62
protrude
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| v.使突出，伸出，突出 | |
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63
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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64
beckon
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| v.(以点头或打手势)向...示意，召唤 | |
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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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66
glutinous
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| adj.粘的，胶状的 | |
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67
triangular
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| adj.三角（形）的，三者间的 | |
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68
collation
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| n.便餐；整理 | |
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69
dispense
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| vt.分配，分发；配(药)，发(药)；实施 | |
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regale
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| v.取悦，款待 | |
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71
delicacies
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| n.棘手( delicacy的名词复数 )；精致；精美的食物；周到 | |
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72
savory
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| adj.风味极佳的，可口的，味香的 | |
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73
dangles
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| 悬吊着( dangle的第三人称单数 )； 摆动不定； 用某事物诱惑…； 吊胃口 | |
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74
gourd
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| n.葫芦 | |
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75
sipped
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| v.小口喝，呷，抿( sip的过去式和过去分词 ) | |
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refreshment
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| n.恢复，精神爽快，提神之事物；（复数）refreshments:点心，茶点 | |
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77
dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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exasperated
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| adj.恼怒的 | |
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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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80
touching
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| adj.动人的，使人感伤的 | |
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81
chagrin
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| n.懊恼；气愤；委屈 | |
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decency
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| n.体面，得体，合宜，正派，庄重 | |
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persuasive
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| adj.有说服力的，能说得使人相信的 | |
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84
acquiesced
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| v.默认，默许( acquiesce的过去式和过去分词 ) | |
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curtly
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| adv.简短地 | |
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86
sobs
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| 啜泣（声），呜咽（声）( sob的名词复数 ) | |
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woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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flickering
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| adj.闪烁的，摇曳的，一闪一闪的 | |
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90
bungling
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| adj.笨拙的，粗劣的v.搞糟，完不成( bungle的现在分词 )；笨手笨脚地做；失败；完不成 | |
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machinery
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| n.(总称)机械，机器；机构 | |
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flute
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| n.长笛；v.吹笛 | |
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compartment
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| n.卧车包房，隔间；分隔的空间 | |
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recital
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| n.朗诵，独奏会，独唱会 | |
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paramount
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| a.最重要的，最高权力的 | |
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loyalty
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| n.忠诚，忠心 | |
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retaliation
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| n.报复，反击 | |
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99
abdomen
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| n.腹，下腹(胸部到腿部的部分) | |
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manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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faltering
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| 犹豫的，支吾的，蹒跚的 | |
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103
writhing
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| （因极度痛苦而）扭动或翻滚( writhe的现在分词 ) | |
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104
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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dexterously
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| adv.巧妙地，敏捷地 | |
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106
outfits
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| n.全套装备( outfit的名词复数 )；一套服装；集体；组织v.装备，配置设备，供给服装( outfit的第三人称单数 ) | |
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107
formerly
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| adv.从前，以前 | |
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108
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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109
jot
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| n.少量；vi.草草记下；vt.匆匆写下 | |
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discreetly
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| ad.(言行)审慎地，慎重地 | |
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111
thoroughly
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| adv.完全地，彻底地，十足地 | |
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112
metropolis
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| n.首府；大城市 | |
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113
troupe
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| n.剧团，戏班；杂技团；马戏团 | |
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114
reticent
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| adj.沉默寡言的；言不如意的 | |
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115
rogue
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| n.流氓；v.游手好闲 | |
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116
mischievous
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| adj.调皮的，恶作剧的，有害的，伤人的 | |
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117
plentifully
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| adv. 许多地，丰饶地 | |
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118
vernacular
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| adj.地方的，用地方语写成的；n.白话；行话；本国语；动植物的俗名 | |
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119
brewing
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| n. 酿造, 一次酿造的量 动词brew的现在分词形式 | |
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