By eight o'clock in the morning—the dragon's hour—the crowd collected before the doors of the Grand Theatre. Those who had no hope of admittance meant at least to enjoy the dazzling spectacle of the arrival of wealthy citizens and elegantly dressed ladies.
On each side of the principal entrance, reached by a broad staircase, were reared lofty platforms, upon which various delegates from the company of actors stood forth, in street dress, fan in hand. In pompous style, with merry gestures and grimaces, they loudly commended the pieces which they were to give to the public, praising the splendor of the costumes and stage setting, and the incomparable merit of the players; and when that subject was exhausted, they amused the mob by all sorts of jokes, puns, and anecdotes, delivered with comic gravity, and accompanied by the perpetual motion of the fan, handled in skilful, graceful style.
Soon the favored portion of the public, who were able to engage their seats in advance, arrived from all sides. Across the two bridges arching the canal to right and left of the theatre came norimonos and cangos, their bearers advancing with measured pace, and following one after the other in infinite succession; from every street appeared countless palanquins. The black lacquer glittered in the sun, the dresses of the women, in haste to enter, had the fresh tints of newly opened flowers. Some young men arrived on horseback; they threw the bridle to the groom, who ran before them, and mounted the stairs to the theatre hurriedly. Under the shade of broad parasols came various families on foot. Upon the canal a throng of boats besieged the landing-stage; the rowers exchanged hard words; the women stepped on shore with little shrieks of alarm. They were followed by maid-servants carrying magnificent boxes of carved ivory, mother-of-pearl, or sandal-wood. The hall was soon filled, and the doors were closed.
The interior of the theatre was rectangular in shape, the parquet divided into square spaces separated by partitions about ten inches high. Two aisles led from the back of the house to the stage, which latter was not divided by any practical boundary from the body of the house, both being upon the same level. These aisles seemed intended rather for occasional exits and entrances of the actors, than for the accommodation of visitors, the partitions between the boxes being sufficiently broad to allow the spectators to reach the places reserved for them. The journey, however, was not without peril, and was accomplished amid screams and bursts of laughter. The women, hampered by their handsome dresses, advanced cautiously, stumbling occasionally. The men offered their arms, to help them into the boxes; but some preferred to sit upon the edge and slide gracefully down. Each compartment held eight persons, who squatted upon the matted floor; and as soon as they were seated, a servant, attached to the theatre, brought them tea and saki on a lacquer tray, with pipes and a brazier.
Raised above the parquet on three sides of the hall was a double row of boxes, the fourth side being occupied by the stage. These boxes, very richly decorated on a background of red or black lacquer, were the most select part of the play-house, especially those in the upper stage. There the most elegant coquettes displayed their magnificent toilets. The aspect of the theatre was delightful; most of the women were beautiful, with their dead-white skins, their glossy hair and dusky eyes. The rustle of silk, the shimmer of satin, the bright colors and the embroideries, formed a splendid spectacle. The married women were easily recognized by their teeth blackened with a mixture of iron filings and saki, by their plucked eyebrows, and by their sash tied in an enormous knot directly in front. The young girls made the knot at the back, and left their teeth to their natural whiteness. They also dressed their hair differently. Instead of letting it hang in a long twist, or gathered in a heavy mass on the top of the head, they combed it over the forehead, arranged it in wings on either side of the face, and fashioned it into an elaborate and voluminous chignon. Some might substitute, for the tortoise-shell pins generally used, others of similar length, but made of filagree gold; their neighbors might prefer to adorn their hair with nothing but flowers and silk cords.
The men were no less fond of dress; crape, brocade, and velvet not being forbidden for their wear. Some had an embroidered scarf on one shoulder, one end hanging forward; the longer the scarf was, the higher the social rank of the wearer. When he saluted a superior he must bend until the scarf touched the ground. Therefore the longer it was, the less he had to bend. A party of nobles appearing incognito, their faces hidden by black crape hoods, showing nothing but their eyes, filled the lower row of boxes. But one of these, very near the stage, remained empty; it was suddenly thrown open, and a woman appeared.
The spectators could not repress a cry of amazement upon recognizing Yodogimi. Was it possible?—the Shogun's mother entering a theatre openly! Had she lost all respect for custom and decorum, and for herself! The veil of light gauze, fastened to the big pins in her headdress, and covering her face, although it might show her desire to preserve her incognito, in no way masked the Princess; she was recognized at the first glance. Still, surprise soon gave way to admiration. Every one was glad she had not hidden her charming face, which the transparent veil did but embellish. Besides, the extraordinary dress worn by Yodogimi took the audience by storm. Her robe was woven of pale gold, covered with fine pearls and grains of crystal; she seemed to radiate light, as if the stars were imprisoned in the folds of the stuff. The Princess smiled as she saw how promptly the first sensation of displeasure was overcome by admiration. She took her seat slowly; and when she was settled in her place, a masked warrior was seen standing behind her.
Then the faint clamor of a gong, the trill of a couple of flutes, and a few muffled blows on a tambourine were heard. The musicians took up their instruments; the play was about to begin.
The audience turned to the stage; it was closed by a curtain covered with huge lozenges, and in the centre of which appeared, upon a scarlet disk, an immense Chinese character, standing for the name of "Humming-Top," the famous and unrivalled actor. A rich silk merchant had presented this curtain in his honor; it was not to be changed until Humming-Top should be surpassed or equalled by one of his colleagues.
The curtain moved; and a man, drawing it slightly aside, came forward. The instant he appeared, the hubbub which filled the hall ceased abruptly. The man saluted the audience with all sorts of grimaces. He was dressed like a wealthy lord, and held in his hands a paper cylinder, which he began to unroll.