CHAPTER XVII.

MUSIC OF JAPAN.

It is a singular fact, that while the Japanese have in all ages given a great deal of attention to poetry the kindred art of music has been suffered to remain almost neglected. Their musical system has never been carefully formed or elucidated, and although they may vie with the Chinese in the beauty of their poetical effusions, in the field of music their research is nothing, when compared with the immense patience and study which the latter people have given to the subject.

Although there are few treatises on the art, yet the practice of music is now deemed an essential part of the education of a Japanese young lady, for contrary to Chinese custom, we find that in Japan, the female sex are proficient in the art.

Although at first glance there seems to be much affinity between Japanese and Chinese music, (so much so, that it seems natural to suppose that the former was an outgrowth of the latter) yet, upon closer analysis, these resemblances are found to be few, and the contradictions many and irreconcilable.

The Japanese songs do not appear to have been founded on the Chinese pentatonic scale, but rather upon the _chromatic_.

It is very possible, that the music of Japan had its rise long ago, within the limits of the island. Unfortunately, in this branch of history, we can as yet, come to no definite conclusion; the absence of all knowledge of the system (if there be one worthy of the name) on which their melodies are formed, and the very slight knowledge of the ancient history of the people, confine us altogether to conjecture and inference. That China exerted some influence upon the musical style of Japan, is undeniable. In the year (A. D.) 57, an embassy was sent from the island, to the Emperor of China, with presents. The return of this expedition, brought to the (at that time) totally rude and uncultivated people, the fruits of the older Chinese civilization, and it was probably at that epoch, that the Chinese instruments, which still exist in Japan, were introduced.

The instruments of Japan, though resembling, are much cruder than their Chinese, prototypes. The _che_, of China, is found under the name of _koto_. It is larger than the _che_, but has fewer strings; the latter are of silk, lightly lacquered. The _sam-sin_ is a guitar, with a very long neck, and has three strings. These instruments are among the indispensable articles of the wedding outfit of every bride.[149]

Of wind instruments they have many styles of flutes and a trumpet, made of a conch shell.[150] The _cheng_ (small mouth organ) is also possessed by them. It is called in Corean dialect _saing-hwang_.[151] Gongs, tamtams, and noisy instruments of percussion, the Japanese possess in profusion; they have also a curious instrument, quite like the Egyptian sistrum,[152] formed of two sonorous metallic rings upon a light frame work, which give forth a tinkling and jingling upon being shaken, or struck with a small stick.[153] The _ko-kiou_ is a kind of violoncello played with a bow; the birva is a similar instrument, which is picked with a _plectrum_. The same plectrum is used in performing upon the _sam-sin_. The clarionet is used very frequently; it is made of bamboo, like the flute. There is also an eight-holed flageolet. Among the instruments of percussion, are wooden rattles; stone drums like bowls, which stand on low frames; a musical drum made of leather; the _tam-tam_, or portable tambourine; gongs of all shapes, such as shields, fishes, tortoises, etc., producing all tones grave and piercing; bells, and kettle drums.

The tambourines which accompany the character dances, are sometimes played two at a time; one being held under the arm, the other in the left hand.[154] There is a picture extant, representing a Japanese concert, in which there is one melodious instrument (a flute) against _six_ instruments of percussion, such as bells, cymbals and drums.[155]

The Japanese ladies not only play the various instruments, but study singing, assiduously. The language is well adapted to vocal efforts, being one of the most melodious and soft of the East; it approaches the Italian in its smoothness; it is monosyllabic,[156] but not varying with the pitch of the voice, as the Chinese does. (The written characters have been derived from the Chinese.) The very alphabet, or the nearest Japanese approach to it, is converted into a short song, which is characteristic of the materialistic views of the people.

The poetic setting of the “Irova” (as this is called) runs thus:—

“Color and light pass away In our world nothing is permanent The present day has disappeared In the profound abyss of nothingness. It was but the pale image of a dream; It causes in our bosoms no regret.”[157]

Nothing can give a stronger picture of the philosophy of Buddhism and its influence upon the Japanese mind.

Buddhism was so well suited to the temper of the people, that upon its introduction into the country (A. D. 552) it almost absorbed the ancient style of worship (Sintuism), and has, at the present time, so altered that superstition, that the prevailing aspiration of one branch, even of that creed, is an escape from trouble into nothingness. The mode of worship is exceedingly simple, and in the main, joyous; there is no thought of supplication to their deities; for as they regard these as being in a state of bliss, they deem that the sight of any person in distress, must be painful to them, and therefore, when in trouble, they avoid going to religious exercises. In fact on the days of religious festivals, they behave in a manner which we should call decidedly immoral, but they do it with the best of motives, for they argue that nothing can please the gods more than to see mortals enjoying themselves heartily; and on this plea, both Buddhists and Sintuists indulge in all kinds of excesses on holidays.

Music does not play a very important part in the religious ceremonies of Japan. The Sintuists, who worship the Kami, or demi-gods, employ choirs on some occasions, and bear in all their ceremonies, some resemblance to the Catholic rites; this resemblance is yet more striking in the Buddhist religion; so much so, that a pious divine[158] on beholding their customs, came to the conclusion that the whole was a parody by Satan, upon the Catholic church.

The annual _fetes_ instituted in honor of the chief Kami, consist almost wholly in ceremonies of purification. On the day before the chief solemnity, the priests march in procession, with tapers, to the temple where the arms and other objects which belonged to the demi-god, are kept in a reliquary called _mikosi_. According to the priests, the _mikosi_ is the earthly dwelling place of the _Kami_; a sort of terrestrial throne, for occasional inhabitance; and each year it must undergo a thorough purification, in order to be acceptable to the hero. The reliquary is emptied and brought to the river; a certain number of priests carefully wash it, while others kindle a series of huge fires, to keep away the evil _genii_. The _kagoura_, or sacred choir, play soft and pleasant music, in order to appease the Kami, who is temporarily deprived of his earthly dwelling; they make as much haste as possible to restore it to him, which is done by placing the relics again in the reliquary.

The temple itself undergoes a purification lasting several days, at the same time. Sometimes the Buddhists send out collectors for their temples, who sing and play, quite musically, in front of the doors of persons from whom they expect to obtain a gratuity; they continue at each door until the heart of the proprietor is softened, or his patience gone, when the door is opened and the singers rewarded civilly.[159]

In order that the similarity of the Buddhist and Christian rites may be remarked, we give the description of the interior of a temple during worship, as seen by a European traveller.[160]

“A hundred kneeling devotees were present; a large shrine, with a gilt image in its recess; two large globular lamps, and two burning candles, immensely long and thick; as also numerous gold and porcelain vases, holding lighted tapers, and surrounded by a forest of artificial flowers, were the objects that most riveted his attention. On both sides of this magnificent and richly gilded shrine were two smaller ones, each illuminated with lighted candles and perfumed tapers, burning with colored flame; the effect of which was very beautiful. In front of the principal altar, within an enclosure, knelt six shaven-headed priests (the latter, and physicians shave the whole of the hair off their heads), robed in crimson silk, and white crape; the centre and chief of whom engaged himself in striking a small saucer-shaped bell, while four more of the number performed a similar duty with padded drumsticks on hollow vessels of lacquered wood, which awoke a dull, monotonous sound. They kept good time, playing in unison, and toning their prayers to their music in chanting. At the conclusion of this singing and drumming they bent their foreheads to the floor, after which they arose and repaired to the smaller shrines, where a ceremony made up of gesticulation and a solemn reading of prayers, took place. In the meantime, the audience knelt, with their eyes directed to the ground, and gave some time to silent prayer.”

Music bore a part also in the funeral ceremonies of some sects in Japan. The priest sang a eulogy of the dead, just before the funeral pile was set on fire.[161]

The order of “mountain priests” use a few instruments of sound (rather than music) in their wanderings. They have a staff with a copper head, to which are fastened four rings, also of copper, which they shake on uttering certain words in their prayers. They also carry a shell called _forano-kai_, to which a tube is attached, and which they use as a trumpet. They blow a blast upon this instrument (which in tone resembles the horn of a cowherd) whenever they see any travellers approaching, as a summons to them to give some charity to the order.[162]

There also exist several orders of a semi-ecclesiastical character; among which may be mentioned the society of blind men. One branch of this society gives the following legend as to its origin. Kakekigo, a general much renowned for his valor and supernatural strength, fought under a prince, named Feki, against the famous hero, Joritomo. In a great battle Feki was killed, and Kakekigo taken prisoner. Joritomo, far from desiring to put him to death, sought by every means to attach him to his own army. One day, when he was pressing him very close to enter into his service, upon whatever terms he pleased, the captive general returned him the following resolute answer:—“I was once the faithful servant of a kind master. Now that he is dead no other shall boast of possessing my faith and friendship. I owe even my life to your clemency; and yet such is my misfortune, that I cannot set my eyes on you, but with a design, in revenge of him and me, to cut off your head. Therefore, these designing instruments of mischief, I will offer to you, as the only acknowledgement of your generous behavior towards me which my unhappy condition will allow me to give you.” Saying this, he plucked out his eyes, and presented them, on a salver, to Joritomo; who, astonished at so much magnanimity and resolution, instantly set him at liberty.

Kakekigo then retired into the province of Fiuga, where he learned to play upon the birva (a musical instrument mentioned above), and founded the society of the Feki-blind, of which he himself was the first head. Many of the members of this society apply themselves to music, in which capacity they are employed at the courts of Princes and great men, as also upon public solemnities, festivals, processions, weddings, and the like. The society does not solicit charity, but its members all strive to be self-supporting, as well as of mutual assistance to each other. Whoever is once admitted as a member, must remain so for life.[163]

The Birva, mentioned above, is a great favorite with the masses, especially when played by the Feki musicians, who still make it their chief instrument. It has been known in Japan for twelve hundred years;[164] and one of the most beautiful lakes in Japan, near Kiota is named Birva Lake, from its shores resembling the outline of that instrument.

The religious chanting of some of the larger sects, is quite impressive. Mr. Sile, Professor of History and Philosophy at the Imperial University of Yeddo, says:—“Some of the chants are very impressive; especially those of the Buddhists; they have a kind of sepulchral solemnity about them, and when performed responsively by large companies of Bonzes, on either side of a gloomy temple, in front of a shadowy half-illumined shrine, they sound like the mournful wailings of prisoners, not of hope, but of despair.”[165]

The peculiarity of the performance lies in this: every man chants, not on a given key, but on that which best suits his natural voice. The time is well kept, but the key notes are as various as each voice that sings; as each one is allowed to choose his own pitch. The effect is good; it giving that blurred and massive sound, which is observed when a large congregation repeats the “Lord’s Prayer” together; but the inflections and intervals are more marked and effective. Instrumental music is also sometimes present. The bonzes clad in heavy, sacerdotal vestments, officiate to an accompaniment of gongs and tambourines.

The solemn entry of the high priest into the choir, makes an immediate diversion in the monotony of the service. This grand dignitary is clad as richly as the bishops and arch-bishops of the west; red cloak, green silk stole, and white embroidered robes. He is followed by a young acolyte, dressed chiefly in white, who accompanies his master, step by step, to offer to him, at an understood signal, a cup of tea from a portable vessel which he carries with both hands.[166]

Some of the Buddhist bonze-houses are celebrated for their luxury, the number of their priests, their magnificent attire, and the theatrical grandeur of their religious ceremonies. There are also endless numbers of retainers, heralds, grooms and porters, attached to the monasteries. The bonzes often give theatrical spectacles, in which dancers and comedians appear. A very curious piece is given on the fifteenth day of the sixth month. It is a sword dance, or military pageant, performed entirely by the priests. Buddhism in Japan has been a most flexible and conciliatory religion. It has succeeded so easily against the older Japanese religion of Kami, or hero-worship, because its introducers saw what customs had become rooted in the Japanese heart, and retained them. Thus we find the worship of heroes, tolerated in the Buddhist faith, as well as every spectacle and sound, calculated to please the senses of the people. It also steered clear of the rock upon which Christianity split (in Japan), that is, the alienation of the people from their rulers or sovereign.

Players of secular music, are numerous everywhere in Japan, but few of them have any idea of time or notation. Blind musicians (of the fraternity above mentioned, and of another called the Buffetz) are numerous and much encouraged by the people, probably on account of their infirmity. Women and girls form the bulk of the secular players and singers. Most of these have been brought up to this from childhood, and (as with the ancient Greeks,) the possession of a musical and literary education often goes hand in hand with considerable laxity of morals.

The practice of music is, therefore, not held in any great esteem among men, as the few males who devote themselves to it are chiefly itinerants. The secular songs are often plaintive in character, but at times also quite stirring and fiery.

In Japan, as in some other Eastern countries, it is not unusual to find persons among the upper classes, who, while disdaining to study the art themselves, yet are very fond of listening to the performances of hired musicians. The taste seems to run entirely in the direction of melody, and not at all towards harmony; although they have a knowledge of a rude kind of harmony, consisting of melodies played upon two or more instruments tuned a fifth apart, thus forming an endless succession of consecutive fifths. This harmony, or a plain melody played in unison, they prefer to the finest (or, in fact, any) European music. Our readers will recollect the answer made by the Chinese mandarin to Pere Amiot, relative to his opinion on the respective worth of Chinese and European music. A similar reply was given by a Japanese nobleman to Dr. Müller, when asked to give an opinion on our music,—“European music may please women, children, and common people, but Japanese gentlemen may not endure it.”

In singing, the Chinese custom of using falsetto tones, obtains also in Japan. One peculiar taste for Western music exists among the Japanese; they like, and purchase many of our music boxes, and many are made in Switzerland especially for the Chinese and Japanese market. These contain two Chinese airs; but it is said that the people would enjoy them even more, if there were no harmonies attached. The entire instrumental music of Japan, partakes of a tinkling character, suggestive of a music box.

Secular singing is an indispensable adjunct of banqueting and feasting. These are frequently enlivened by songs and the sound of stringed instruments.[167]

The Japanese have a great _penchant_ for excursions, banquets and lively enjoyments; they have been, not inaptly, called the “Parisians of the West;” hence it is not surprising to find houses of entertainment scattered broadcast throughout the realm. In these tea houses, every kind of dissipation, from the most innocent, to the reverse, is found, often under the same roof. The most aristocratic of these resorts, have a numerous staff of attendants, among which are singers, dancers, and guitar-players. Although these establishments appear disreputable in European eyes, yet the Japanese gentleman does not hesitate to take his wife and children thither, for a pleasure jaunt. When we consider that the Japanese are the most careful people in the world regarding the education and behavior of their wives and children, we cannot attribute this seeming incongruity to negligence.

In tea houses of an inferior rank, when female dancers and musicians are not among the assistants, they may be sent for, and engaged by the hour. These women never enter the lower class of tea-houses, unless thus sent for. In this respect, as well as by the correctness of their behavior, they are to be distinguished from the lower order of street musicians and dancers at fairs. These are not allowed to perform in private houses; the law compels them to confine their music to such places as are subject to police regulations. Theatres being included in this category, they often appear there, at the request of performers in the plays, in order to figure in the ballet.[168]

In Yeddo, many of the tea houses are built along the banks of the river; and in this case, they have large family boats or gondolas attached, which they let out by the hour, to such parties (and there are many) as desire to take their recreation upon the water. Guitar players and refreshments are furnished with these boats.

The lower classes are passionately fond of listening to story tellers and singers, and these, as in other Eastern countries, give open air performances, trusting to their ability to delight their audience, for a voluntary recompense.

Every day at the close of working hours, one may see groups of artizans, and laborers, as well as many women of the working classes, either at the door of the workshop or at a street corner, arranged in a semi-circle around the story-teller.

National legends and romances are usually given only by those women who have made a profession of music and singing. This branch of street singers forms a large class; they are less roving than the others, and sometimes of rather a high order of talent, as compared with their more itinerant associates. The most distinguished of them have three or four musicians as accompanists, and do not themselves play upon any instrument. The effect of these combinations is said sometimes to be very charming, when heard and seen on a summer’s evening, in a light bamboo frame work, hung round with vines, and lighted with paper lanterns.

Humbert has given the subject of some of these legendary songs, and they are found to be of a most sensational description. A few examples will suffice to prove this.

“Asahina-Sabro charges a troop of enemies, and passes through them, lifting with his right hand, a soldier wearing a casque and cuirass, and spinning him round in the air, while with the left hand he kills two equally redoubtable warriors with one blow of his mace.”[169]

“Nitan-nosiro, the dauntless hunter, astride on the back of a gigantic wild boar, which has flung down, and trodden under its hoofs, all the companions of the hero, holds the furious monster between his knees, and plunges his cutlass into its shoulder.”

“Sonsige, one of the horsemen of the Mikado, finds his comrades squatting around a checker board; he spurs his horse, and with one bound, it stands in the centre of the board, as motionless as any bronze equestrian statue.”

“Tame-tomo desired to conquer the island of Fatsisis. As he mercifully desired to avoid bloodshed, he set about convincing the islanders that resistance was useless. He therefore summoned the two strongest men of the race of the Ainos (the ancient inhabitants of Japan) and, seated calmly upon a mass of rock, he presented his bow to them, holding it by the wood and ordering them to try and bend it. Each seized it with both hands, and setting their heels against the wood of the bow, they leaned back with all their weight, and pulled the string with all their strength. Every effort was in vain; the bow only yielded when Tame-tomo took it delicately between the finger and thumb of his right hand, and shot an arrow which was immediately lost in the clouds.”

It must be remembered, however, that these highly spiced romances are the especial pabulum of the lower classes; and it may be ranked considerably higher than the musical recreation of the working classes of China.

The laborers of Japan, sometimes sing while at their toil, in a measured but cheerful manner.[170] Before leaving the subject of Japanese songs, it may be interesting to note that in the days of Kæmpfer, the Japanese were as curious about our songs, as we are to hear those of barbaric nations; for the emperor and his court, insisted upon that grave historian dancing, and singing before them.[171] On one of these interesting occasions the historian basely deceived the imperial Japanese searcher after knowledge; for on being commanded to sing, he sang to the emperor, a love ditty, which “he had formerly composed for a lady, for whom he had a particular esteem;” and upon the emperor inquiring the meaning of the song, he answered that it was an ode of praise, in honor of the emperor and his court.[172] Let us hope that the Japanese will not lead our investigators astray in such a manner.

The court of Japan had, at that era, musicians attached to its service, though by no means on the grand scale of the Chinese court. The empress had her private band, consisting of players upon the birva, the koto, and the samsinn. Theatrical representations were sometimes added to music. A corps of young comedians played little operas, or executed character dances, some grave and slow, in which a long mantle was worn; others lively and playful, the dancers appearing suddenly and with appropriate movements, in the disguise of birds or butterflies.

The court ladies had their private boxes at the theatre and at the circus of wrestlers; many of these customs still exist at the Japanese court but not with the spirit and life of former days.

Processional music is, in Japan, similar to that described in “Chinese Music,” noisy and distressing; but it is by no means so generally used as in China. In some processions it is not present at all. The emperor formerly appears to have had no music in his pompous cavalcades, for a description of one of these pageants (written in the seventeenth century), thus concludes:

“It is at the same time in the utmost silence that the procession proceeds. No one is heard to speak a word. Neither the spectators in the streets, nor those who form the procession, make the least noise. It can only be perceived by the sound of men’s footsteps, and the tramping of horses.”[173]

At the ecclesiastical processions, which take place on days devoted to special _Kami_, (similar to the saints days of Europe), and called _Matsouri_, the music consists of the fifes, drums, and gongs of the bonzery. Of course these processions vary in proportion to the popularity of the special Kami or saint. The greatest _Matsouri_ which takes place at Yeddo, is that given in honor of Zinmou, the founder of the empire. Even those who do not believe in Kami-worship, attend this feast to show respect to their country, and it has become a patriotic as well as religious occasion. Over a million of spectators, annually view this procession. In the ranks appear an image of the patron of sacred dancing, borne on a large drum; and the sacred gong of the priests. The band on this occasion is large, and flutes, trumpets, big drums, cymbals, gongs, and tambourines are among the instruments carried. The expenses of the lesser _Matsouri_ are often defrayed by the people of a street or quarter which is specially devoted to the _Kami_ in whose honor it is held.

Many of the customs above alluded to are sensibly losing their hold on the populace, since the recent introduction of our civilization; this is especially the case with such customs as come under government surveillance. The military music for example, has been remodelled on the European plan; regimental bands in French style (that is with a preponderance of drums), are now attached to the Japanese national army. The trumpet calls are said to be played with much aptitude by the Japanese performers, but in the matter of time-keeping by the band, and keeping step to the music by the soldiers, exactness is yet far from being attained.[174] In the theatre and its music, there is, as yet, not so great a change from former days, yet there are many European customs to be found there (though probably not all derived from Europe), and the theatre differs from that of China, in having a curtain in front of the stage; in being often built upon a permanent site; and in other particulars.

The plays although sometimes quite as minute in details as the Chinese, are much shorter, lasting usually about two hours; and are often much wittier.

There has been a peculiar manner of presenting these plays; if five plays are to be performed in one day, the following mode has sometimes been adopted.[175]

The performers go through the first act of the first play, then the first act of the second play, and so on until the five _first acts_ have been given. They then take the _second_ act of each play in succession, and so on, until all the last acts are given. The object of this custom is to enable spectators to see one act, go away, and come again in time for the next act.

Often, however, the spectators remain throughout the entire day, and in that case refreshments are openly consumed. It is also thought correct for ladies to change their dress as often as possible during the day, so that there is as much change of costume, in front of the stage as upon it. In the Japanese comedies there is generally a large amount of love making. The tragedies deal chiefly with the exploits of the mythological heroes, and are expressed in verse, sometimes declaimed, sometimes sung.[176] The terrific combat is an acknowledged essential of this order of plays.[177]

The effect of the martial scenes is much increased by a bass drum, called “taiko” (after a celebrated ancient warrior), which is sometimes played with a smaller one called “kakko.”[178]

The building where these plays take place is very plain. The theatre at Matsmai, the capital city of the Island of Jesso, is thus described.[179]

“It is a large and pretty high building; at the back is a stage which with us, has a raised floor. From the stage to the front wall, where the entrance is situated, two rows of seats are placed for the spectators. In the middle where we have the pit, there is a vacant space in which straw mats are laid down for the spectators. As this space is much lower than the stage, those in front do not intercept the view from those behind. Opposite the stage, where in our theatre the galleries and chief boxes are situated there are only a bare wall, and the door for entrance.

There were no ornaments in the interior; the walls were not even painted. The dresses and decorations are kept in a separate building.”

In Yeddo this is far different and keeps more pace with civilization, and, as Yeddo supplies the surrounding provinces with both actors and plays, the change is spreading throughout the empire. The plays begin at six or seven, P. M., and last (without the before-mentioned alternations) until one or two o’clock in the morning. Theatres are exceedingly numerous in the city; each has its own arms or design, by which it is called; and these are painted upon banners and lanterns, which are hung from a tower upon the roof of each establishment. We give as complement to the above description of the Matsmai theatre, the following picture of a leading theatre at Yeddo.

“The interior of the theatre forms a long square. There are two ranges of galleries, the upper containing the best places in the theatre. Numbers of ladies are to be seen there in full dress, that is to say, covered up to their eyes in crape dresses and silk mantles.[180] The whole of the remainder of the house is occupied exclusively by men.

The floor of the house as seen from a distance, resembles a draught board. It is divided into compartments containing from eight to twelve places each, most of which are hired by the year by the citizens who take their children regularly to the play. There are no lobbies. Every one walks to his place on the planks which enclose the compartments at the height of the spectators’ shoulders, who squat on their heels, or crouch on little stools. There is neither a ladder nor staircase, by which to get down into the midst of them. The men hold out their arms to the women and children. The settling of the audience in its place forms a very picturesque part in the preliminaries of the representation. Tobacco and refreshments are served during the whole evening by koskeis, or servants, along the before-mentioned gang planks. On two sides of the pit are two bridges of planks, which also communicate with the boards of the stage; the first is nearest to one of the doors; the second, which is four planks wide, forms an angle with the extremity of the boxes. On this bridge certain heroic or tragic comic personages perform their part, and the ballet is danced. The house is lit by paper lanterns tied to the galleries; there is no chandelier from the roof, which is perfectly flat, the cupola being unknown in Japanese architecture. Large lanterns are however, sometimes held up to the roof, in order to light up the performance of the acrobats, especially that of the ‘flying men,’ who cross the theatre by means of cleverly contrived mechanism.

The curtain which hangs before the stage, is ornamented by a gigantic inscription in Chinese characters, and surmounted by a target with an arrow in the centre. This is a symbol of the talent and tact which the actors are about to display, and signifies that they expect to ‘hit the bull’s eye’ of the audience’s wishes.”[181]

The performance generally lasts till one o’clock A. M., and usually consists of a comedy, a tragedy, an opera with a ballet, and two or three interludes of acrobats, wrestlers and jugglers.

The tragedy we have already partly described as of a mythological sensational type. In the comedy it is often customary for the audience to address the actors, and the latter answer in kind; thus frequently a brisk fire of _repartee_ is kept up which delights the audience far more than the play itself. It is very rare in any of these pieces that more than two actors are upon the stage together. In the ballet the performers are richly attired, and sometimes wear several dresses of light silk, one above the other; as they dance they detach a few of these vestments and allow them to hang from their waist, a cloud of airy texture seemingly voluminous, but in reality very light.[182] The Japanese plays are sometimes preceded by a prologue in which much of the action is described (_a la_ Greek chorus) but not the _denouement_.[183] The performance of the jugglers is most to the popular taste, for it is not unusual to find the restaurants (with which each theatre is surrounded, and which cater to the same class of custom) quite crowded during the entire performances, but the moment that the gong gives the signal for the commencement of the juggling, they are at once deserted, every one hastening back to his seat in the theatre. The principal parts of the performance are announced not with a bell or with music, but by striking a small wooden stick upon the stage.

Sometimes the actors pass through the audience on their way to the stage, in order to give the spectators an opportunity to admire their appearance and costume, as closely as possible.[184] The appearance of infernal personages on the stage is always accompanied with lightning.

The principal characters of the drama are accompanied on the stage by a couple of attendants, each carrying a long stick at the end of which is a lighted candle. The use of these candles is amusing; they show to the audience what they ought to admire. If the actor’s facial expression be peculiar, his attitude graceful, his dress fine, or his weapons elegant, the candle is at once held to the part, to attract attention.

With regard to the literary merit of the Japanese drama, not enough is yet known whereon to base a detailed analysis, but it is safe to say that the art is yet in its infancy. It is singular, that, while we regard some of the situations in their plays as exceedingly indelicate, they, on their part, condemn our drama as totally immoral, and would not tolerate such plays as “Hamlet,” “School for Scandal,” etc.

The key to the enigma is this,—they allow every license to unmarried ladies, but the married state is with them inviolable. They therefore tranquilly witness plays which would put “Camille” to the blush, but allow nothing which involves post-marital intrigue. Some of their actors are quite skillful; there is one at present upon the Yeddo stage, who performs the part of a man possessed with the soul of a cat, and the blending of human and feline character is said to be marvelous.

The caste of actors, as in China, is rather low; the comedians being in least repute. Although the theatre is so well patronized, yet it is only by the middle and lower classes; very few aristocrats even of the lesser nobility ever attending, and these even disguise themselves.

Of course, it was to be imagined that the Jesuits would not (at the time of their mission in Japan) neglect so straight a road to the popular attention, as the drama. In their church at Nagasaki (more than two centuries ago), they represented a play in the style of the mediæval miracle plays, representing the birth of Christ. The parts were taken by the neophites and native students at the college of the order. Everything passed off in the best possible manner, as well in the appointments of the theatre, as in the ease and smoothness of the acting, and it would have been applauded in any European theatre.[185]

It may be interesting to the reader to peep into the green room of a Japanese theatre, during performance. It is thus described,—

“In these places none but men are to be seen, excepting from time to time some servants, or the artists’ wives who bring refreshments to their husbands, or come to give the last touch to their toilet before they go on the stage in the costume of either sex. In the midst of the general disorder we find some very characteristic groups. Here are musicians occupied in refreshing themselves, and indifferent to everything else until the signal to return to their posts shall reach them; there, two actors are rehearsing together the attitudes and gestures which in a few moments are to delight the spectators; and another sitting on his heels, before a looking glass placed upon the floor, is painting his face and adjusting his feminine head-dress. A young devil beside him, has thrown back his mask, with his horns and mane over his shoulders and is fanning himself, while the chief of the wrestlers, is tranquilly smoking his pipe, in the midst of the acrobats.

Among the crowd, carpenters are coming and going, carrying the screens and partitions for the next scene; the machinist is working a trap through which a whirlwind of flame is about to escape; and the piece is going on outside to the accompaniment of drum beating, amid the conversation of the public in the house, and that of the disengaged actors.”[186]

Such briefly, is the condition of music and the drama in Japan, but such astounding changes are taking place throughout every part of the life of this enterprising people, that a description which is appropriate at present, may be a record of past customs, ten years hence. Already there is a tendency in upper circles towards Western music, but this may be rather a result of fashion (which is being rapidly _Europeanized_) rather than of genuine appreciation; even the present empress of Japan has, it is said, a real taste for European music and instruments. She is a good performer upon the piano-forte.

As with the Chinese, the customs in general of the Japanese are at total variance with our own; to show respect we take off our hat, they their shoes. We get up, they sit down, (it is the height of impoliteness to receive a visitor standing.)[187]

We turn the back as a mark of incivility, they as a token of respect;[188] their mixture of the truest modesty with the greatest license, must ever remain an enigma to us. Since then, we cannot in other respects, judge this remarkable people, it behooves us, in the field of music, to study them without preconceived ideas of the art. That music is in an undeveloped state with them, is undoubtedly true; the absence of treatises and system proves it; but what direction the art will take in its development can only be settled by time. That it will not remain stationary in the midst of change, is a foregone conclusion.