I gave a half-frightened gasp, and was glad when Hanano, with a slow smile, shook her head. I don't know why the child refused. Perhaps the soft whiteness of the snowy floss suggested in some vague way the white mourning clothes we had worn at Mother's funeral. While there was no definite superstition regarding the wearing of wedding garments after the ceremony, still, it was never done. They were laid away—to wait. Both Honourable Grandmother and my mother wore the wedding dress beneath the death-robe when they were ready for the last journey.
The very next chest—just as marriage and death go hand in hand as the two most important ceremonies in Japanese life—held articles for the funeral. This chest was one of those from my home and was about half filled with a disordered array of ceremonious uniforms for the men who carried the tall lanterns, the bamboo dove cage, and the heavy death kago. These were all made of linen, since no silk was ever used at a funeral. There were also pleated skirts and stiff shoulder garments for retainers with no family crest, white-banded servant kimonos, boxes of knee bands, pilgrim sandals, and countless small articles essential for the various attendants in the elaborate procession. I could remember when that chest contained everything requisite for a samurai funeral except the wide straw hats that shade the sorrowing faces from the Sun goddess. Those had to be fresh and new for each occasion. The house of every high official always had these things in readiness, for death often comes without warning, and Japanese rules for ceremonious occasions were strict and unvarying.
"There!" said Sister, as she closed the lid of the chest and pushed the metal bar through the triple clasp, "the usefulness of these things belongs with their glory—to the past. Sometimes I cut up a garment to get linen binding for a worn-out mat, and occasionally, when a workman breaks his sandal cord, I present him with a pair of sandals from this chest; but the things go slowly—slowly."
"But this," she added, gently tapping a drawer in a fresh whitewood chest, "belongs to the future. It will be used some day."
"What is it?" I asked.
"My death-robe."
"Oh, Sister," I said earnestly, "please show it to the children. They saw Mother's, of course, but I had no chance to explain the meaning."
She opened the drawer and lifted out her shroud. We all sat very quiet, for as it was folded it looked exactly like the one we had placed on Mother. It was made of soft white linen, and instead of a sash, had a narrow band like that of a baby's first dress, for the belief was that we enter the next world as an infant. The robe was almost covered with texts from the Buddhist scriptures, which had been written by famous priests at various times. A blank strip in front showed that it was not yet finished. Beside the robe lay a small white bag intended to be placed around the neck. It would contain, when all was ready for Sister's last journey, a tiny package of her baby hair, shaved off at the christening ceremonies when she was eight days old, the dried navel cord, her cut widow-hair, a six-rin coin to pay the ferryman, a death rosary of white wooden beads, and a sacred tablet called "The Heavenly Pass."
While Sister was re-folding the robe she glanced up at the grave faces of the children and broke into a merry laugh.
"Why so sad, thou solemn-faced ones?" she cried. "Would it not be a disgrace should I receive a telegram to go home and have no suitable dress for the journey?"