BETROTHAL PRESENTS.
(FROM A PICTURE BY SUKENOBU, 1678–1751)
A young man in search of a wife, or oftener his parents, would ask friends to look for a likely girl; or it may be the father of a marriageable girl who asks his friends to find an eligible young man; or a man who thinks a match might be made between two young people of his acquaintance may propose a marriage to their parents. If, in these cases, the parents think a suitable match may be made, they ask a mutual friend to act as the go-between; or in the absence of such a friend, it is almost always possible to find some one who knows the acquaintances of both parties. The go-between must be a married man, as the duties of the office at the wedding devolve more heavily upon the wife than upon the husband. The go-between then brings about a meeting between the proposed lovers. This takes place at a theatre or other place of entertainment, or in temple-grounds, a restaurant, or some public resort, especially where the flowers of the season are in bloom. Both parties, consisting of the young people and their parents or relatives, meet there as if by accident, and the go-between introduces them casually to each other as his friends. Here the would-be lovers have a good look at each other; and if they are mutually pleased, they signify that fact afterwards when the go-between calls at their houses to hear the result of the meeting. But before the final decision is made, the two families make private inquiries through their friends in each other’s neighbourhood, usually of the tradesmen the other deals with, as to its social standing and repute and the life and character of the young man or girl in question. They must be quite sure that the information thus obtained bears out the go-between’s statements; for the go-between so frequently draws too favourable a picture of the standing of the families and the ability and accomplishments of the proposed couple that the expression “the go-between’s fair words” has become synonymous with gross exaggeration. If the families are not satisfied, the match is broken off; but if they are pleased with each other, the go-between is asked to look up a lucky day for the formal proposal. Nowadays the photographs are first exchanged and if they are found satisfactory, inquiries are made before the meeting is arranged.
THE BRIDAL PROCESSION.
(FROM A PICTURE BY SUKENOBU)
On the appointed day a messenger, a trusted friend or servant of the young man’s family, calls on the girl’s father and makes a formal proposal, bringing at the same time a present of silk dresses, an obi, fish, and sake; the father accepts the present and gives a receipt for it. This acceptance constitutes the consent to the marriage. He also makes a present to the other family. Soon after, he invites his relatives and intimate friends to a dinner, at which he announces the betrothal of his daughter. Preparations are then made forthwith for the wedding; and when they are completed, another gathering of relatives and friends with their wives takes place and the dresses and other requisite articles for the marriage are exhibited; and the meeting, especially the female section of it, criticise and offer advice if necessary on these preparations.
Now all is complete; and an auspicious day has been fixed for the wedding. The bride’s property is sent on to the bridegroom’s a day or two previously. It consists of chests of drawers and several boxes containing her dresses, bedding, toilet articles, various utensils needed for tea-making and flower arrangement, a koto, and work-boxes, and sometimes even kitchen utensils. In the evening she leaves her father’s home. Formerly she went in a palanquin; but now she is conveyed in a jinrikisha or carriage. She is accompanied by friends and relatives. She is dressed in white or some other light colour. In the country a bonfire is lighted at the door, and she is escorted by torchlight; but in the city only lanterns are carried.
On reaching the bridegroom’s house, the bride is led into the toilet-room to rest herself a while and touch up her toilet. Then she is shown into the room where the wedding ceremony is to take place. The arrangement of the room varies with the school of etiquette; but usually there are offerings to the Gods on the dais of the alcove. They comprise two round cakes of pounded rice in the middle, with a stand of consecrated sake a little in front on either side, and at the back a stand each of fish (a carp or tai) and fowl (a pheasant or snipe). There are, besides, a couple of black-lacquered cabinets with writing materials, a small wash-basin, and tea-utensils. There also stands a large flat porcelain dish with legs, on which are planted a miniature pine, bamboo, and plum-tree, with a tortoise at the base and a crane flying above. The pine, being an evergreen, signifies longevity, the bamboo, from its pliancy, gentleness, and the plum-tree, which blooms while there is yet snow on the ground, denotes fidelity in adversity. The crane which is supposed to live a thousand years and the tortoise whose life is said to last ten times as long, both symbolise longevity. In the foreground are an old couple, Takasago by name, who are the Darby and Joan of the Japanese legend, the husband with a rake and the wife with a broomstick. The whole stand is then emblematic of long life, happiness, and conjugal fidelity.
THE WEDDING PARTY.
(FROM A PICTURE BY SUKENOBU)