"I think that is the best," I said. "It is the soul of all the rest."
"Hin no nusubito, koi no uta," interpretatively murmurs Manyemon. "Even as out of poverty comes the thief, so out of love the song!"
[III]
NOTES OF A TRIP TO KYŌTO
I
It had been intended to celebrate in spring the eleven hundredth anniversary of the foundation of Kyōto; but the outbreak of pestilence caused postponement of the festival to the autumn, and the celebration began on the 15th of the tenth month. Little festival medals of nickel, made to be pinned to the breast, like military decorations, were for sale at half a yen each. These medals entitled the wearers to special cheap fares on all the Japanese railroad and steamship lines, and to other desirable privileges, such as free entrance to wonderful palaces, gardens, and temples. On the 23d of October I found myself in possession of a medal, and journeying to Kyoto by the first morning train, which was over-crowded with people eager to witness the great historical processions announced for the 24th and 25th. Many had to travel standing, but the crowd was good-natured and merry. A number of my fellow-passengers were Osaka geisha going to the festival. They diverted themselves by singing songs and by playing ken with some male acquaintances, and their kittenish pranks and funny cries kept everybody amused. One had an extraordinary voice, with which she could twitter like a sparrow.
You can always tell by the voices of women conversing anywhere—in a hotel, for example—if there happen to be any geisha among them, because the peculiar timbre given by professional training is immediately recognizable. The wonderful character of that training, however, is fairly manifested only when the really professional tones of the voice are used,—falsetto tones, never touching, but often curiously sweet. Now, the street singers, the poor blind women who sing ballads with the natural voice only, use tones that draw tears. The voice is generally a powerful contralto; and the deep tones are the tones that touch. The falsetto tones of the geisha rise into a treble above the natural range of the adult voice, and as penetrating as a bird's. In a banquet-hall full of guests, you can distinctly hear, above all the sound of drums and samisen and chatter and laughter, the thin, sweet cry of the geisha playing ken,—
"Futatsŭ! futatsŭ! futatsŭ!"—
while you may be quite unable to hear the shouted response of the man she plays with,—