The townspeople generally calculate on being burnt out once in every seven years, and whenever this calamity falls upon them, no time is lost in rebuilding. For instance, in December, 1864, a fragment of blazing wood, from a fire which destroyed the United Service Club at Yokohama, was blown across to the village of Omura before alluded to, which was half burnt down, greatly endangering the General Small-Pox Hospital and the huts of the Royal Marine Battalion in its rear. But early next morning, while the embers of the old houses were still smoking, new ones were in course of erection, and before night some of the industrious occupants were fairly roofed in afresh.[2]
CHAPTER III.
DOMESTIC LIFE.
It is impossible to mark the even and peaceable tenor of Japanese life, the politeness, industry, respect for superiors, and general air of cheerfulness and content, that pervades all classes, without admiration of the wise regulations which preserve such order amongst them as a people. Quarrels and blows are almost unknown in families; the husband is gentle, the wife exemplary and affectionate, and the children singularly obedient and reverent to their parents: yet 'Spare the rod and spoil the child' is a precept totally disregarded. The children are never beaten, nor do the parents allow themselves to lose their tempers in rebuking them, however great the provocation may be—one remarkable result of the complete self-abnegation inculcated by their social system.
A JAPANESE WEDDING
The relative position of father and son is very striking. From an early age the latter enjoys the entire confidence of the former, who not only treats him as a grown-up person, but frequently refers disputed matters to his arbitration, invariably abiding by his decision. Again, on a son's arriving at manhood, the parents often resign their property in his favour, relying on him, with a confidence rarely misplaced, for maintenance during the remainder of their lives; and so sacred is this trust considered, that in case of the son's demise it devolves indisputably on his wife and children. So far, what could be more promising? But, alas! like everything else, Japanese life has a dark side, and in this case it consists of a repulsive custom, which permits indigent parents to sell their daughters for a term of years into a state of bondage, for purposes of the most degrading nature. This possibility more than counterbalances all the brighter features of their domestic economy. Generally speaking, when young girls find themselves a burden to their parents, they seek employment in the tea-houses, where they are well looked after and instructed in various accomplishments, for which they serve a certain apprenticeship, and at its expiration generally marry, as girls so educated are eagerly sought after.
There are two forms of marriage, either of which is legally binding. One is a religious, and the other a civil contract, not very dissimilar from our marriage by the registrar, saving that the bride's parents sign for her. Whichever form is used, the parents receive a sum of money from the bridegroom; but in neither case is the husband supposed to see the face of his bride until all due formalities have been performed. The religious ceremony takes place in a temple: the pair, after listening to a lengthy harangue from one of the attendant priests, approach the altar, where large tapers are presented to them; the bride, instructed by the priest, lights her taper at the sacred censer on the altar, and the bridegroom, igniting his from hers, allows the two flames to combine, and burn steadily together, thus symbolizing the perfect unity of the marriage state; and this completes the ceremonial.
The illustration represents the private ratification of the civil contract, which is a simple form, by which the parties take upon themselves the respective duties of husband and wife. The veiled figure in white is the 'hanna-yomie,' or 'bride,' in the act of acknowledging the 'hanna-moko,' or 'bridegroom' (who sits opposite to her in an official dress), by partaking of the nuptial saki. This 'saki,' or 'wine,' is prepared by two intimate female friends of the bride, who first pour it into the gold and silver lacquer vessels on the stand, which respectively represent the husband and wife, and then, taking the vessels in hand, mix the contents in a cup, and deliver it to the 'shewarin,' or 'master of the ceremonies,' who hands it to the bride, and then to the bridegroom, and both partake of the contents, which act constitutes the marriage.