At the ecclesiastical processions, which take place on days devoted to special Kami, (similar to the saints days of Europe), and called Matsouri, the music consists of the fifes, drums, and gongs of the bonzery. Of course these processions vary in proportion to the popularity of the special Kami or saint. The greatest Matsouri which takes place at Yeddo, is that given in honor of Zinmou, the founder of the empire. Even those who do not believe in Kami-worship, attend this feast to show respect to their country, and it has become a patriotic as well as religious occasion. Over a million of spectators, annually view this procession. In the ranks appear an image of the patron of sacred dancing, borne on a large drum; and the sacred gong of the priests. The band on this occasion is large, and flutes, trumpets, big drums, cymbals, gongs, and tambourines are among the instruments carried. The expenses of the lesser Matsouri are often defrayed by the people of a street or quarter which is specially devoted to the Kami in whose honor it is held.
Many of the customs above alluded to are sensibly losing their hold on the populace, since the recent introduction of our civilization; this is especially the case with such customs as come under government surveillance. The military music for example, has been remodelled on the European plan; regimental bands in French style (that is with a preponderance of drums), are now attached to the Japanese national army. The trumpet calls are said to be played with much aptitude by the Japanese performers, but in the matter of time-keeping by the band, and keeping step to the music by the soldiers, exactness is yet far from being attained.[174] In the theatre and its music, there is, as yet, not so great a change from former days, yet there are many European customs to be found there (though probably not all derived from Europe), and the theatre differs from that of China, in having a curtain in front of the stage; in being often built upon a permanent site; and in other particulars.
The plays although sometimes quite as minute in details as the Chinese, are much shorter, lasting usually about two hours; and are often much wittier.
There has been a peculiar manner of presenting these plays; if five plays are to be performed in one day, the following mode has sometimes been adopted.[175]
The performers go through the first act of the first play, then the first act of the second play, and so on until the five first acts have been given. They then take the second act of each play in succession, and so on, until all the last acts are given. The object of this custom is to enable spectators to see one act, go away, and come again in time for the next act.
Often, however, the spectators remain throughout the entire day, and in that case refreshments are openly consumed. It is also thought correct for ladies to change their dress as often as possible during the day, so that there is as much change of costume, in front of the stage as upon it. In the Japanese comedies there is generally a large amount of love making. The tragedies deal chiefly with the exploits of the mythological heroes, and are expressed in verse, sometimes declaimed, sometimes sung.[176] The terrific combat is an acknowledged essential of this order of plays.[177]
The effect of the martial scenes is much increased by a bass drum, called “taiko” (after a celebrated ancient warrior), which is sometimes played with a smaller one called “kakko.”[178]
The building where these plays take place is very plain. The theatre at Matsmai, the capital city of the Island of Jesso, is thus described.[179]
“It is a large and pretty high building; at the back is a stage which with us, has a raised floor. From the stage to the front wall, where the entrance is situated, two rows of seats are placed for the spectators. In the middle where we have the pit, there is a vacant space in which straw mats are laid down for the spectators. As this space is much lower than the stage, those in front do not intercept the view from those behind. Opposite the stage, where in our theatre the galleries and chief boxes are situated there are only a bare wall, and the door for entrance.
There were no ornaments in the interior; the walls were not even painted. The dresses and decorations are kept in a separate building.”