In the “Nishiki-no-Ura� (錦��) written by Ky�den, published in 1791, a “Furishin� is made to say:—
“Who was in charge of the samisen last night? The koshimoto (a little maid) is complaining that she can’t find the bachi (plectrum).�
This was because it was the duty of the shinz� to play the sugagaki every evening, and each one of them took charge of the samisen alternately. Up to the An-ei period (1772–1780) shinz� sung some naga-uta or Bungo-bushi and played the koto or samisen, and, when the shinz� happened to be a favorite, people came out in front of the neighbouring houses to hear her sing. This custom was of a comparatively later origin and was observed by some houses.
Now-a-days, just prior to the appearance of yūjo in their “cages�, the gyū strike a bundle of wooden clog-checks (gesoku-fuda) against the floor, and, while slapping the pillar of the entrance door with the palm of their open hand, imitate the squeaking of a rat. The hour this charm is performed corresponds to that at which sugagaki was played in former days. Sugagaki seems to have been evolved and developed from the tunes of koto music, because one authority states that “sugagaki� means the playing of certain koto airs without any accompanying song. In ancient times a blind musician made a departure in the direction of playing koto music on the samisen, and this was handed down in the Yoshiwara as “sugagaki�.
During the Genroku era (1688–1703) “Ni-agari suyagaki� “Yedo sugagaki� and “Sanya-sugagaki� came into vogue owing to their suiting the tastes of fashionable persons.
There is a kiyomoto song entitled “Hokushū� in which reference is made to the sugagaki, and the prosperity of the Yoshiwara at that time vividly described.
Daijin-mai no koto.
(Dancing of millionaires.)
This style of dancing was most popular in the Yoshiwara during the Sh�toku era (1711–1715). The songs which were sung as a kind of accompaniment to this dancing are said to have been composed by a comic actor named Nakamura Kichibei (commonly known as Nishiban). Kichibei, being an expert singer of ko-uta (light songs), was present at many saké parties given by rich people, and entertained the guests so well with his singing and dancing that he became very popular. According to a certain book of songs, however, it is claimed that the songs were composed by a man named Seisai, but as the same book states the songs were composed during Gembun era (1736–1739) the identity of the composer is extremely doubtful. If these ballads were really written during the Genroku (1688–1703) and Sh�toku (1711–1715) eras, it is inconsistent that the names of Kibun (紀文) and Naramo (奈良茂)[43] should appear in the verses!
A Street Scene in the Yoshiwara a hundred years ago.
Copied from a drawing by Kitagawa Utamaro.