The caste of actors, as in China, is rather low; the comedians being in least repute. Although the theatre is so well patronized, yet it is only by the middle and lower classes; very few aristocrats even of the lesser nobility ever attending, and these even disguise themselves.
Of course, it was to be imagined that the Jesuits would not (at the time of their mission in Japan) neglect so straight a road to the popular attention, as the drama. In their church at Nagasaki (more than two centuries ago), they represented a play in the style of the mediæval miracle plays, representing the birth of Christ. The parts were taken by the neophites and native students at the college of the order. Everything passed off in the best possible manner, as well in the appointments of the theatre, as in the ease and smoothness of the acting, and it would have been applauded in any European theatre.[185]
It may be interesting to the reader to peep into the green room of a Japanese theatre, during performance. It is thus described,—
“In these places none but men are to be seen, excepting from time to time some servants, or the artists’ wives who bring refreshments to their husbands, or come to give the last touch to their toilet before they go on the stage in the costume of either sex. In the midst of the general disorder we find some very characteristic groups. Here are musicians occupied in refreshing themselves, and indifferent to everything else until the signal to return to their posts shall reach them; there, two actors are rehearsing together the attitudes and gestures which in a few moments are to delight the spectators; and another sitting on his heels, before a looking glass placed upon the floor, is painting his face and adjusting his feminine head-dress. A young devil beside him, has thrown back his mask, with his horns and mane over his shoulders and is fanning himself, while the chief of the wrestlers, is tranquilly smoking his pipe, in the midst of the acrobats.
Among the crowd, carpenters are coming and going, carrying the screens and partitions for the next scene; the machinist is working a trap through which a whirlwind of flame is about to escape; and the piece is going on outside to the accompaniment of drum beating, amid the conversation of the public in the house, and that of the disengaged actors.”[186]
Such briefly, is the condition of music and the drama in Japan, but such astounding changes are taking place throughout every part of the life of this enterprising people, that a description which is appropriate at present, may be a record of past customs, ten years hence. Already there is a tendency in upper circles towards Western music, but this may be rather a result of fashion (which is being rapidly Europeanized) rather than of genuine appreciation; even the present empress of Japan has, it is said, a real taste for European music and instruments. She is a good performer upon the piano-forte.
As with the Chinese, the customs in general of the Japanese are at total variance with our own; to show respect we take off our hat, they their shoes. We get up, they sit down, (it is the height of impoliteness to receive a visitor standing.)[187]
We turn the back as a mark of incivility, they as a token of respect;[188] their mixture of the truest modesty with the greatest license, must ever remain an enigma to us. Since then, we cannot in other respects, judge this remarkable people, it behooves us, in the field of music, to study them without preconceived ideas of the art. That music is in an undeveloped state with them, is undoubtedly true; the absence of treatises and system proves it; but what direction the art will take in its development can only be settled by time. That it will not remain stationary in the midst of change, is a foregone conclusion.
CHAPTER XVIII.
MUSIC OF SAVAGE NATIONS.
The music of savage tribes, should properly begin a chronological account of the music of the world. It can scarce be doubted that the strains which to-day delight the ears of the rudest peoples, were similar to those which gave pleasure to the uncultivated denizens of the earth in pre-historic times. The scientific inquirer, even to-day, finds unexpected points of resemblance in music of nations and tribes, separated from each other in distance, custom, climate and religion; resemblances which are so numerous that they can only be accounted for by the hypothesis that the strains have come down from an earlier, homogeneous race. Of course the earliest efforts of primitive man were rather rhythmical than musical, and even at present the music of the least civilized races is altogether rhythmical. The ease of the discovery that a regular clapping of the hands, or stamping of the feet, or striking two pieces of wood together, could produce a pleasing effect, is so apparent that it puts all discussion as to the origin of music, out of sight; a fortunate occurrence, since there are enough points of dispute yet left for our wiseacres to contend over.