CHAPTER IX
CHILDREN
A cluster of little Japanese children at play somehow suggests to me a grand picture-gallery, a picture-gallery of a nation. Every picture is a child upon which has been expended the subtle decorative sense of its family or neighbours, as expressed in the tint of its dress and sash and in the decoration of its little head. It is in the children that the national artistic and poetic nature of the Japanese people most assuredly finds expression. Each little one expresses in its tiny dress some conception, some idea or thought, dear to the mother, some particular aspect of the national ideals. And just as in the West the character of a man can be gauged by the set and crease of his trousers, so in Japan are the sentiments and ideals of a mother expressed in the design and colouring of her baby’s little kimono. Thus, when watching a group of children, maybe on a fête day, one instinctively compares them with a gallery of pictures, each of which is a masterpiece, painted by an artist whose individuality is clearly expressed therein. Each little picture in this gallery of children is perfect in itself; yet on closer study it will be found that the children are more than mere pictures. They tell us of the truths of Japan.
One child, in the clearness and freshness of its dress, seems to embody an expression of that unselfish cheerfulness so characteristic of the Japanese, among whose children you can go for days without seeing one cry. Another, in the graceful dignity and rich yet severe colouring of its costume, tells of that faithful spirit of loyalty and pride that has always marked the lives of the Japanese. One tiny baby, in the dainty sombreness of colour and quiet arrangement of the folds of its little kimono, suggests the thoughtful consideration and sweet seriousness of the women of Japan; and another child, dressed in a wonderful combination of red and bronze relieved by glimpses of white, expresses in its rich glowing colour, and the purity of the white within, the fire of Japanese patriotism.
BABY AND BABY
But come with me for a walk on any day, in sun or in rain, whether on a gala day or on an ordinary day, and we shall meet little units in the decorative whole, every one of them a colour picture bringing to the mind some characteristic of the people. We shall find one little one who, to the eye of the artist, flashes like a gem, her white kimono, decorated, or rather made vivid, as by the hand of a master, with only three or four great black crosses, each formed of the crisp dexterous drags across the surface of the cloth. Again the black is repeated in the carefully-arranged hair, and the white in the little wooden shoes; but all is toned and touched by just a little old rose in the ribbon that ties her head-dress and the fastening of the thongs at her feet.
Such an art in a people is living; it has its root in national spirit and national character, and must continue to foster and strengthen the national ideals.
The clothing of her children is a matter of great and serious consideration to the Japanese mother. When a baby is born she gathers together all her friends, and they discuss a scheme of decoration for the set of miniature dresses that the little one is to wear. More care is taken with these baby dresses than with those of any grown person, and if the parents are rich the sums that are spent on silk crepe are sometimes such as would shock any English mother. So much has to be taken into consideration with regard to the design of a child’s dress: it might be cherry-blossom or a landscape, according to the month and the circumstances amid which the infant was born. The colouring of the costume is generally suggestive of the ideas and sentiments of the mother. She does not say, “I will take this bough of apple-blossom, and it shall be the dress of my child,” or “I will take Fuji at sunset, and the colouring of my baby’s dress shall be of old rose and white snow.” She does not grab at nature in this crude way; but the artistic and poetical feelings innate in her unconsciously find expression in the little frock. When the mother and her neighbours have finally decided upon a scheme of decoration, the designs are placed in the hands of some great artist, who carries them out in water-colour drawings on silk, which the friends gather together again to examine and generally enjoy. Then the designs are handed over to some expert stencil-cutter, go through the regular elaborate course, and are finally retouched, by the artist himself, directly on to the silk. If the parents are rich enough the stencils are destroyed, and the dress consequently becomes unique. Such a dress will doubtless be an exquisite work of art, and very costly. Indeed, a dress for a Japanese baby can cost quite as much as a picture by a leading Academician, and is of far greater artistic value. But no price can be too great, no colouring too gorgeous, for the dresses of these little butterflies, the children of Japan. The poorest mother will scrape together sufficient money, and the father sacrifice one half of his daily portion of rice, in order that a child may attend a festival in the bright hues befitting its age. The younger the child, the more brilliant is its dress. You will see a mite, a little baby girl that cannot walk or talk, clothed in silk crepe of the most brilliant colour possible—rainbow colour, almost prismatic in its brilliancy. As the child grows older the colours fade, and become duller, until by the time she is a full-grown woman they have sobered down almost to Quaker hues—except here and there, where some tiny edging of colour shows itself.
A JAP IN PLUM-COLOUR
The science of deportment occupies quite half the time of the Japanese children’s lives, and so early are they trained that even the baby of three, strapped to the back of its sister aged five, will in that awkward position bow to you and behave with perfect propriety and grace. This Japanese baby has already gone through a course of severe training in the science of deportment. It has been taught how to walk, how to kneel down, and how to get up again without disarranging a single fold of its kimono. After this it is necessary that it should learn the correct way to wait upon people—how to carry a tray, and how to present it gracefully; while the dainty handing of a cup to a guest is of the greatest importance imaginable. A gentleman can always tell the character of a girl and the class to which she belongs by the way she offers him a cup of Sake. And then the children are taught that they must always control their feelings—if they are sad, never to cry; if they are happy, to laugh quietly, never in a boisterous manner, for that would be considered vulgar in the extreme.
Modesty and reserve are insisted upon in the youth of Japan. A girl is taught that she must talk very little, but listen sympathetically to the conversation of her superiors. If she has a brother, she must look up to him as her master, even although he be younger than herself. She must give way to him in every detail. The baby boy places his tiny foot upon his sister’s neck, and she is thenceforth his slave. If he is sad, her one care must be to make him happy. Her ambition is to imitate as nearly as possible the behaviour of her mother towards her own lord and master.
Many attempts have been made by enterprising Westerners to “broaden” the minds of the Japanese girls, and to make them more independent, by establishing schools for them, where they can be educated on purely Western principles; but these attempts have always failed. The women turned out from such establishments are always unhappy, and continue to suffer for the rest of their lives, because they are disliked and resented by all their people, and no man will marry any of them. The beautiful side of life seems to have been taken from them; imagination is crushed and spoilt; they are unfitted for the life that every Japanese woman must lead. Naturally they are hated by the men, for the womanly qualities that are most valuable in a Japanese girl are destroyed by this Western “broadening” of their minds: they wear high-heeled shoes, put nosegays on the table, and are altogether demoralised. Sad to say, Western influence is keenly felt within the schools which belong to all classes and conditions of Japanese children, and one trembles lest gradually the simplicity and quaint formality of their bringing-up should become hardened and roughened into the system which has done so much to spoil the child-life of the West. Their own artistic training is perfect; and although Japan is the land of ceremony, and the children are brought up with a certain strictness of propriety unknown in the less ceremonious West, their utter naturalness and absolute freedom from seeking after effects present in them a simplicity of character which helps to make them the most delightful of their kind. A little boy flying a kite is like no other boy you have ever seen in England. There is a curious formality and staidness about him and his companions which never degenerates into shyness.
SUGAR-WATER STALL
Once I drifted into a country village in search of subjects for pictures, and I found to my astonishment that every living soul there was flying a kite, from old men down to babies. It was evidently a fête day, dedicated to kites; all business seemed abandoned, and every one either stood or ran about, gazing up in the air at the respective toys. There were kites of every variety—red kites, yellow kites, kites in the shape of fish, teams of fighting kites, and sometimes whole battalions of them at war with kites of a different colour, attempting to chafe each other’s strings. It rather surprised me at first to see staid old men keenly interested in so childish an amusement; but in a very short time I too found myself running about with the rest, grasping a string and watching with the greatest joy imaginable the career of a floating thing gorgeously painted, softly rising higher and higher in the air, until it mingled among the canopy of other kites above my head, becoming entangled for a moment, then leaving them and soaring up above the common herd, and side by side with a monstrous butterfly kite; then came the chase, the fight, and the downfall of one or the other. They were all children there, every one of them, from the old men downwards; all care and worry was for the time forgotten in the simple joy of flying kites; and I too, in sympathy with the gaiety about me, felt bubbling over with pure joy. To see these lovely flower-like child faces mingling with the yellow wrinkled visages of very old men, all equally happy in a game in which age played no part, was an experience never to be forgotten. None was too old or too young, and you would see mites strapped to the backs of their mothers, holding a bit of soiled knotted string in their baby fingers, and gazing with their black slit eyes at some tiny bit of a crumpled kite floating only a few inches away.
ADVANCE JAPAN
Another game in which both the youth and the age of Japan play equal parts is the game of painting sand-pictures on the roadside. These sand-pictures are often executed by very clever artists; but I have seen little children drawing exquisite pictures in coloured sands. Japanese children seem to have an instinctive knowledge of drawing and a facility in the handling of a paint-brush that is simply extraordinary. They will begin quite as babies to practise the art of painting and drawing, and more especially the art of painting sand-pictures. You will see groups of little children sitting in the playground of some ancient temple, each child with three bags of coloured sand and one of white, competing with one another as to who shall draw the quaintest and most rapid picture. The white sand they will first proceed to spread upon the ground in the form of a square, cleaning the edges until it resembles a sheet of white paper. Then, with a handful of black sand held in the chubby fingers, they will draw with the utmost rapidity the outline of some grotesque figure of a man or an animal, formed out of their own baby imaginations. Then come the coloured sands, filling in the spaces with red, yellow, or blue, according to the taste and fancy of the particular child artist. But the most extraordinary and most fascinating thing of all is to watch the performance of a master in sand-pictures. So dexterous and masterly is he that he will dip his hand first into a bag of blue sand, and then into one of yellow, allowing the separate streams to trickle out unmixed; and then with a slight tremble of the hand these streams will be quickly converted into one thin stream of bright green, relapsing again into the streams of blue and yellow at a moment’s notice. A Japanese mother will take infinite pains to cultivate the artistic propensities of her child, and almost the first lesson she teaches it is to appreciate the beauties of nature. She will never miss the opportunity of teaching the infant to enjoy the cherry-blossom on a sunny day in Uyeno Park. Hundreds of such little parties are to be seen under the trees enjoying the blossom, while the mother, seated in the middle of the group, points out the many beauties of the scene. She will tell them dainty fairy stories—to the boys, brave deeds of valour, to strengthen their courage; to the girls, tales of unselfish and honourable wives and mothers. Every story has a moral attached to it, and is intended to educate and improve the children in one direction or another. There is one fairy story which is a universal favourite with both mothers and children, and that is the story of Momotaro. When seeing a mother talking earnestly to her children, I have always discovered that it was the same old story, old yet ever fresh. It is a curiously simple tale about an old woman who goes every day to the river to wash clothes, and an old man who goes to the mountain to fetch wood. The old woman is always unhappy because she has no children, and one day, when she is washing clothes in the river, a large peach comes floating down towards her. On carrying it home, she hears the cry of a child, which appears to come from the inside of the peach. She rapidly cuts it in two, and finds to her amazement a fine baby sitting in the middle of it, which, since it was born in a peach, she afterwards called Momotaro. The story then goes on to tell how the baby grows up to be a fine healthy lad, who, on reaching the age of seventeen, plans an expedition to subjugate an island of the devil. A minute description is given of the food he takes with him—of the corn and rice wrapped in a bamboo leaf—and how on his journey he meets with a wasp, a crab, a chestnut, and a millstone, who all promise to help him if he will give them half of his food. The lad complies, and a beautiful description is given of their journey to the island of the devil, on which journey a very skilful plan is thought out by which to kill him. On arriving at the island, they find that the chief of the devils is not in his own room. They soon take advantage of his absence. The chestnut hops into the ash; the millstone mounts on to the roof; the crab hides in the washing-pan; the wasp settles in a corner; and the lad waits outside. The poor devil comes back, and has a terrible time between them all. He goes to the fireplace to warm his hands; the chestnut cracks in the fire and burns them; he rushes to the water-pan to cool himself, and the crab bites his hand; he flies to a safe place, and is tormented by the wasp; in an agony of pain he tries to leave the room, but the remorseless millstone descends with a crash upon his head, and mortally wounds him. This story is told to the Japanese children over and over again, but is always received with wide-eyed delight and excitement.
CHUMS
I have never seen a child in Japan cry; nor have I ever seen one smacked, for what mother can have the heart to touch so dainty a blossom as the child flower of this land of flowers? A group of Japanese children is perhaps the prettiest sight on earth, and they themselves are works of art, the beauty of which can scarcely be imagined. Each head and each piquant face is but a field where the ever-present artist can exercise his ingenuity and his skill in colour and design. Deliberately the child’s head and face are treated as subjects fit for the most decorative of design, and the result, though quaint and formal to the last degree, is invariably as pleasing as it is undoubtedly startling and original. And the children themselves are no less full of interest than their heads and faces are full of paint. I once saw a pyramid of children gazing in at a sweet-stuff shop. They looked like three children; but on closer inspection I discovered that one was a doll looking about the age of a child of two, with its great head lolling on the back of its mother, aged three. The three-year-old was a boy, strapped to the back of his sister aged five. The doll and the sister looked very sleepy and tired as they gazed vacantly at the rows of tempting pink sugar-water bottles in the sweet-stuff shop; but what arrested my attention was the alert and intelligent expression of the three-year-old child in the middle, who, just as I took out my notebook to sketch the group, put a lighted cigarette between his lips, holding it between two chubby fingers, eyeing me with the peculiar introspective look of the old hand as he both tests the excellence of the tobacco and gives himself up to its enjoyment. As I sketched him he looked composedly at me out of his big eyes, and posed twice without a particle of artificiality—once with the cigarette in his mouth, and again as if he had just taken it from his lips for a moment while he paid attention to me.
A SUNNY STROLL
I remember once passing a temple, an ancient Shinto temple called “Kamogamo”; it was a sacred temple and very popular, being much frequented for picnics. On this particular day there was going on one of the two important picnics or festivals of the year; the great ground of the temple and the playground were enclosed about with straw ropes on bamboo poles, to separate one from another. It was a festival for girls under ten, and there were hundreds of children, all with their kimonos tucked up, showing their scarlet petticoats, and looking for all the world like a mass of poppies. The scarlet in the petticoats was universally repeated in neck and hair; but their kimonos varied much, and were of almost every shade and texture of Japanese cloth and silk crepe imaginable. There were luminous greens, fawns, stripes, golden browns shading into lemon-yellows, harmonies in brown and violet, and dresses striped and chequered in tones of almost every conceivable value. Two rows or armies of these girls were placed several yards distant from each other in this long emerald-green field; and in the space between them stood two servants, each holding a long bamboo pole, fresh and green, being evidently just cut down for the fair, and suspending from its top a flat shallow drum covered with tissue paper. Presently two young men teachers appeared on the scene carrying two baskets of small many-coloured balls, which they threw down on the grass between the children and the drums. Then a signal was given, and all the girls started running down the field at full tilt towards one another, pouncing on the balls as they ran, and throwing them with all their force up at the paper drums. The great majority of them missed their aim altogether, and flew either above or below the drums, some of the mites getting so excited that they threw the balls forty or fifty yards in mid air. After a time, when a perfect shower of balls had passed through the tissue drums, quite demolishing them, a shower of coloured papers, miniature lanterns, paper umbrellas, and flags came slowly fluttering down among the children on to their jet-black bobbing heads, and into their eager outstretched hands. Never have I seen anything more beautiful than these gay, brightly-clad people, packed closely together like a cluster of flowers in the brilliant sparkling sunshine, with their pretty upturned faces watching the softly falling rain of coloured toys. I strolled through the temple grounds, passed this brilliant stream of colour and lovely laughing children, passed the cherry-trees and dainty tea-houses, and in a few minutes found myself in a cool grey-green forest of bamboo, an academic bamboo grove looking like a pillared temple, sunless and silent. It was here that the philosophers of old taught and meditated, and it seemed a place to meditate in—so quiet, so sombre, shut off from the world with its endless lofty pillars of grey luminous green—silent, a world apart.
THE CHILD AND THE UMBRELLA
WORKERS