“Ōtsuye shosagoto hayashi kata, �-deki, �-deki!� (Dramatic representation of the �-tsuye musicians, splendid, splendid!). A drawing of a car-stage and of an elevated sh�ji was depicted, and around this wistaria flowers were hung: inside were the musicians.
The geisha O Ishi, O Kume, O Yuki, and O Nami, who wore clothes with long sleeves, and h�kamuri (handkerchief covering the head and cheeks) played the samisen. Yūjo Taneko (of Shinkana-ya) and Masuno (of Ō-Ebisuya) also in long-sleeved clothes and lacquered hats danced bearing wistaria flowers in their hands. Next there were lantern bearers of Ky�machi It-ch�me which were acted by more than ten kamuro. The five leading yūjo were dressed in five-fold robes and red hakama, wore y�raku (crowns) upon their heads and held hishaku (sceptres) made of hinoki wood: in their hands. As the women walked along they were kept carefully covered by means of a special umbrella held over their heads from behind.
In the programmes of niwaka dances given in the Ky�wa era, (1801–1803) as well as in the pictures of the Bunkwa era (1854–1859) are to be seen men playing a farce before the railings of a brothel. At that period no stage car was used, but the pantomimic dance was performed in the open, the players being made visible by means of candles placed on stands in front of the persons taking part in the performance. The players appear to have been gifted with a considerable fund of ready wit and humour, as nearly every word and gesture excited roars of laughter from the lookers-on. The latter day niwaka seems to have been derived from the dancing of yūjo. The famous “lion-dancing� and kiyari songs which form the chief feature of the niwaka, were originated during the Ansei era (1854–1859) by a geisha named O Ichi, who was very popular in her day by reason of her being an expert in these matters. It is stated that in the year 1898 the niwaka scheme was abandoned owing perhaps to the fact that the result to the Yoshiwara was not commensurate with the large outlay involved in getting up the entertainments, but on making a careful investigation we find that the police authorities declined to sanction the dance even for half the usual time. The proprietor of one of the largest establishments states that he and his confrères are greatly concerned about this attempt to abolish such an old custom, and that a supreme effort will be made to obtain the sanction of the police to produce the niwaka as usual. His argument was that such an exhibition is not inimical to the morals of the public, and that persons who visit the Yoshiwara go there with the express purpose of amusing themselves with such spectacles!
Tori-no-machi.
(The fête of Ōtori no Kami.)
On the days of the fowl, in the month of November every year, the festival of Ōtori-no-kami is celebrated at the various places in T�ky� where the “Eagle� shrines are located. On these occasions great crowds of people visit the Yoshiwara, as the most popular “market� is held in Ryūsenji-machi, Asakusa Tambo, close to the quarter.
Crowds Visiting the “Tori-no-machi.�
These are the red-letter days for brothels and their inmates, and, as a rule, nearly all the yūjo are engaged by previous arrangement with their guests. It is considered rather a disgrace to yūjo to remain long on exhibition in their cages on such holidays. Popular women give ocular demonstration of their popularity by the means of tsumi-yagu and geisha usually obtain promises of engagement from some guests beforehand.
The three gates besides the Ō-mon, which are kept shut except on the Tori-no-machi days and in case of fire or other emergency, are thrown open from early morning for the admission of the general public. The traders erect their stalls at the back of the Examination House (kensa-ba) as far as Suid�-jiri, and yūjo appear in the cages even in the day-time. At night the bustle and confusion of the Yoshiwara becomes intensified.
Tipsy rascals “three sheets in the wind� stagger along the streets or swarm in front of the brothels, thickly bawling out unseemly ditties, while some yūjo may be heard calling to would-be guests in their broad patois. The great crowd surges hither and thither like the eddies of the ocean, and the confusion well-nigh defies description; but, paramount above all, here, there, and everywhere is the ubiquitous blue-coated little policeman with sword, spectacles, lantern, and note-book, uttering his warning cry of “koréya! koréya� (“that’ll do now:—move on�) and overawing the profanum vulgus with the majesty of the law visible and incarnate.