Later, in the 2nd year of En-ky� (1745), cherry-trees were planted between the �mon and Suido-jiri, bamboo fences being built around and bright lanterns being lit under them to enhance the effect. This departure attracted a large number of persons to the quarter.
In those times the expense of the enterprise was fixed at 150 ry� every year, 40 per cent being paid by the Kembansho, 40 per cent by the miscellaneous traders in the Yoshiwara, and 20 per cent by the tea-houses. The subscriptions were made in the shape of daily or monthly deposits by those interested, and it appears that this practice is still in vogue.
In front of the tea-houses on either side of the street curtains dyed with fantastic designs were hung, and in the front rooms red carpets were placed, these practices being observed even at the present day.
In ancient times, kamuro and shinz� were allowed to visit Ueno, Asuka-yama, Muk�jima, and other places to view the cherry-blossoms during this month; and another holiday was taken by the inmates of brothels, including yūjo, wakaimono, etc., who spent a day in giving saké parties and viewing the blossoms in the Naka-no-ch�. One year the following song was composed by Ki-no-kuni-ya Bunzaemon and Kikaku conjointly:—“Like silvery haze the cherry-blossoms reflect the setting sun; they are like a mountain strewn with golden flowers.�
The prosperity of the Yoshiwara was at its zenith at this period, and the quarter was counted as one of the places in Yedo which was “worth a thousand ry� per day.�
T�r� no koto.
(Lanterns.)
At present, in the month of August every year, a large lantern, on which is a painting from the brush of some well-known artist, is exhibited in the centre of the Yoshiwara at Naka-no-ch� for the purpose of attracting people. Besides this show-piece, revolving and other lanterns of various shapes and designs are hung in front of the tea-houses and lit up nightly. Under these circumstances many persons—not excepting women—flock into the Yoshiwara to witness the brilliant spectacle, and many a prodigal is induced to squander money there by reason of the lanterns which apparently only serve to dazzle his eyes and obscure his reason instead of enlightening him and guiding his footsteps. The general style of lantern is vertically long but narrow in breadth, it being made of silk stretched on black-lacquered frames. It is supported by a pair of cedar poles covered with an ichimatsu sh�ji by way of a roof. Each house is provided with a pair of these lanterns, one facing the street and the other the interior of the building, so that one can be seen from either side: this arrangement has nullified the old saying “t�r� wa ura kara miro, niwaka wa mae kara miro� “(look at the lanterns from behind and the niwaka dance from the front�). One writer observes that as late as the 20th year of Meiji (1887) the lanterns placed in front of tea-houses faced the streets, and were therefore only seen to advantage by pedestrians, while actual guests who went up into the second story of a tea-house had to content themselves with looking at the rear of these lanterns. The present day fashion would seem to be of very modern origin indeed. After the 10th year of Meiji (1877) the tea-houses in the Naka-no-ch� hit upon the novel idea of putting up white cloths at the entrance and making displays by means of magic-lanterns, but as this made the Yoshiwara practically a dark world it occasioned great inconvenience to the guests. From time to time the tea-house-keepers have shown themselves very ingenious in getting up new schemes to attract visitors, and on one occasion they displayed an artificial moon on a screen so contrived as to show the movement of clouds flitting across its face: all these displays are reckoned as making up one of the notable events which take place in the Yoshiwara yearly.
Illuminated lanterns in the Naka-no-ch�
