National excitement at the news of the second coming of the Black Ships was followed by consternation at the discovery that the Shogunate confessed its inability to cope with the foreign powers. This could mean only a peril greater than that of the Tartar invasion in the days of Hojo Tokimune, when the people had prayed to the gods for help, and the Emperor himself, at Ise, had besought the spirits of his fathers. Those prayers had been answered by sudden darkness, a sea of thunder, and the coming of that mighty wind still called Kami-kaze,—"the Wind of the Gods," by which the fleets of Kublai Khan were given to the abyss. Why should not prayers now also be made? They were, in countless homes and at thousands of shrines. But the Superior Ones gave this time no answer; the Kami-kaze did not come. And the samurai boy, praying vainly before the little shrine of Hachiman in his father's garden, wondered if the gods had lost their power, or if the people of the Black Ships were under the protection of stronger gods.
(1) "Is that really the head of your father?" a prince once asked of a samurai boy only seven years old. The child at once realized the situation. The freshly-severed head set before him was not his father's: the daimyo had been deceived, but further deception was necessary. So the lad, after having saluted the head with every sign of reverential grief, suddenly cut out his own bowels. All the prince's doubts vanished before that bloody proof of filial piety; the outlawed father was able to make good his escape, and the memory of the child is still honored in Japanese drama and poetry.
(2) Samurai women, in some province, at least, could go to the public theatre. The men could not,—without committing a breach of good manners. But in samurai homes, or within the grounds of the yashiki, some private performances of a particular character were given. Strolling players were the performers. I know several charming old samurai who have never been to a public theatre in their lives, and refuse all invitations to witness a performance. They still obey the rules of their samurai education.
III
It soon became evident that the foreign "barbarians" were not to be driven away. Hundreds had come, from the East as well as from the West; and all possible measures for their protection had been taken; and they had built queer cities of their own upon Japanese soil. The government had even commanded that Western knowledge was to be taught in all schools; that the study of English was to be made an important branch of public education; and that public education itself was to be remodeled upon Occidental lines. The government had also declared that the future of the country would depend upon the study and mastery of the languages and the science of the foreigners. During the interval, then, between such study and its successful results, Japan would practically remain under alien domination. The fact was not, indeed, publicly stated in so many words; but the signification of the policy was unmistakable. After the first violent emotions provoked by knowledge of the situation,—after the great dismay of the people, and the suppressed fury of the samurai,—there arose an intense curiosity regarding the appearance and character of those insolent strangers who had been able to obtain what they wanted by mere display of superior force. This general curiosity was partly satisfied by an immense production and distribution of cheap colored prints, picturing the manner and customs of the barbarians, and the extraordinary streets of their settlements. Caricatures only those flaring wood—prints could have seemed to foreign eyes. But caricature was not the conscious object of the artist. He tried to portray foreigners as he really saw them; and he saw them as green-eyed monsters, with red hair like Shojo(1), and with noses like Tengu(2), wearing clothes of absurd forms and colors; and dwelling in structures like storehouses or prisons. Sold by hundreds of thousands throughout the interior, these prints must have created many uncanny ideas. Yet as attempts to depict the unfamiliar they were only innocent. One should be able to study those old drawings in order to comprehend just how we appeared to the Japanese of that era; how ugly, how grotesque, how ridiculous.
The young samurai of the town soon had the experience of seeing a real Western foreigner, a teacher hired for them by the prince. He was an Englishman. He came under the protection of an armed escort; and orders were given to treat him as a person of distinction. He did not seem quite so ugly as the foreigners in the Japanese prints: his hair was red, indeed, and his eyes of a strange color; but his face was not disagreeable. He at once became, and long remained, the subject of tireless observation. How closely his every act was watched could never be guessed by any one ignorant of the queer superstitions of the pre-Meiji era concerning ourselves. Although recognized as intelligent and formidable creatures, Occidentals were not generally regarded as quite human; they were thought of as more closely allied to animals than to mankind. They had hairy bodies of queer shape; their teeth were different from those of men; their internal organs were also peculiar; and their moral ideas those of goblins. The timidity which foreigners then inspired, not, indeed, to the samurai, but to the common people, was not a physical, but a superstitious fear. Even the Japanese peasant has never been a coward. But to know his feelings in that time toward foreigners, one must also know something of the ancient beliefs, common to both Japan and China, about animals gifted with supernatural powers, and capable of assuming human form; about the existence of races half-human and half-superhuman; and about the mythical beings of the old picture-books,—goblins long-legged and long-armed and bearded (ashinaga and tenaga), whether depicted by the illustrators of weird stories or comically treated by the brush of Hokusai. Really the aspect of the new strangers seemed to afford confirmation of the fables related by a certain Chinese Herodotus; and the clothing they wore might seem to have been devised for the purpose of hiding what would prove them not human. So the new English teacher, blissfully ignorant of the fact, was studied surreptitiously, just as one might study a curious animal! Nevertheless, from his students he experienced only courtesy: they treated him by that Chinese code which ordains that "even the shadow of a teacher must not be trodden on." In any event it would have mattered little to samurai students whether their teacher were perfectly human or not, so long as he could teach. The hero Yoshitsune had been taught the art of the sword by a Tengu. Beings not human had proved themselves scholars and poets(3). But behind the never-lifted mask of delicate courtesy, the stranger's habits were minutely noted; and the ultimate judgment, based upon the comparison of such observation, was not altogether flattering. The teacher himself could never have imagined the comments made upon him by his two-sworded pupils; nor would it have increased his peace of mind, while overlooking compositions in the class-room, to have understood their conversation:—
"See the color of his flesh, how soft it is! To take off his head with a single blow would be very easy."
Once he was induced to try their mode of wrestling, just for fun, he supposed. But they really wanted to take his physical measure. He was not very highly estimated as an athlete.
"Strong arms he certainly has," one said. "But he does not know how to use his body while using his arms; and his loins are very weak. To break his back would not be difficult."
"I think," said another, "that it would be easy to fight with foreigners."