The 'Gogata Seku,' the emblems of which form the first subject of illustration, is also a festival of great importance: it takes place about the middle of June, which is the fifth month of the Japanese calendar, from which it derives its designation, and is kept up with more than ordinary spirit during the three days of its continuance. It is held in commemoration of Gongen Sama, the great general to whom the present dynasty owes its existence; and the Japanese date their births from this festival, even if born the day after its last celebration.
It has several curious symbols, the most striking being huge aerial fishes, in imitation of the 'koi,' or 'carp;' large crimson streamers, representations of Gongen Sama crushing a demon; and the heads and tails of crayfish, with which they decorate their dishes and the entrances of their houses. The floating fish flag is hoisted over every house in which a boy has been born during the preceding twelve months, and is emblematical of his future career. As the 'koi,' or 'carp,' which is very plentiful in Japan, finds its way up streams and rivers, surmounting all obstacles in its way, and rendering itself by its fecundity and edible qualities useful to the whole country, so the child is to make his way through life, boldly fulfilling his destiny, and proving himself a useful and beneficial member of the community. In the same way, the scarlet streamer indicates the birth of a female child, and the domestic nature of her duties. The crayfish are used to remind the people of their humble origin (it being traditionary that the empire originated from a race of poor fishermen), and the consequent necessity of humility, temperance, and frugality, in their different stations in life.[1]
Various qualities are ascribed to the hero of this festival: he is considered the especial champion of women, for whose protection he instituted several laws and regulations; among others, making it obligatory on them to blacken their teeth on entering into the married state. He is believed to be able to charm away fevers, to alleviate suffering, and to prevent the lives of his protégées from being embittered by jealousy. During the celebration of this festival the whole country presents an extraordinary appearance; aerial fishes, streamers, and bamboo decorations, meet the eye in every direction; and the people in gala costume which is always worn on holidays, greatly enhance the brilliancy of the scene.
The gala dress is much gayer than that ordinarily worn, but there is little difference in the material, the dress of every class being regulated by stringent sumptuary laws. Blues and purples predominate in winter, the lighter and more varied colours being generally confined to materials only adapted for summer use. The ladies have a great partiality for crimson crape, which is generally worn as an under-robe, and peeps daintily out at the bottom of the dress, and at the wide open sleeves; it is also entwined in the hair, and with the girdle, at the back of which it is allowed to droop in full, graceful folds. The men do not affect such bright colours as the women and children, although their robes are often fantastically embroidered with various strange devices, such as shell-fish, frogs, flowers and landscapes, some of which are beautifully worked.
Mother and Child.[From Photograph.]
The whole populace on these occasions seem determined to enjoy themselves; the air of good-natured contentment, which characterises them at all times, taking a more exuberant tone as they stroll about the streets, visit in family parties, or make excursions to the neighbouring tea-houses. Thoroughly domestic in their tastes and habits, it is a pleasing sight to watch the family groups. Here a grand-dame is carefully assisted along by her son and daughter-in-law, preceded by chattering grandchildren in the gayest of dresses, tugging at extraordinary kites; or a father, in the doorway of his house, nurses one child, while the mother exhibits for the admiration of sympathizing friends another infant—probably one of the unconscious objects of all this rejoicing.
Though the men frequently exceed the bounds of sobriety on these festivals and holidays, they rarely become quarrelsome. It is, however, by no means unusual for them to keep in a state of intoxication for days; alleging this, with perfect sang froid, as an excuse for any neglected promise or unfinished job.
The 'Omatsurie,' or 'Merchants' Great Festival,' which is only celebrated in the principal towns, takes place about the middle of July, and may be considered to be an exhibition of the different trades, as the merchants and craftsmen of the country show the choicest specimens of their wares and handicraft in a kind of trades' procession. Like all the rest of their festivals it has a religious signification, the people believing that misfortunes in business are warded off by it. Upwards of five hundred trade trophies figure in one of these processions, the imposing nature of which may be imagined from the gorgeous materials and fantastic dresses depicted in the illustration. The car in the foreground bears the trophy of the wax-figure makers, whose trade is one of the most lucrative in Japan, as the Japanese not only perpetuate their celebrities by wax-work effigies, but the majority of the people, being professors of the Sintoo religion, have Lares and Penates of the same material, called 'Kamis,' which are supposed to intercede on their behalf with the Supreme Being. And this is in addition to regular wax-work exhibitions, which are very popular, and the sale of toys which are hawked about the country by travelling dealers.
