A municipal police, similar to that of Nagasaki, was established in all the other towns, boroughs, and villages, with this difference only, that the magistrates, though invested with the same power, were, perhaps, known by different names, and that their administration was, in general, much less strict than at Nagasaki.
The adjacent country was under the control of an imperial steward (the same forming a part of the imperial domains), who collected the rent, forming, with the house-tax, the entire imperial revenue. This rent amounted to four parts in ten of the crop; whereas inferior landlords exacted six parts in ten. Grain was delivered in kind; garden grounds, orchards and woods, paid a compensation in money.
We may close this account of Nagasaki with a description of the Matsuri, or public spectacle exhibited on the birthday of the god Suwa, the patron of the city, one of the occasions on which the Dutch were permitted to leave the island of Deshima, for the purpose of witnessing the spectacle. This festival was, and still is, celebrated at the expense of ten or eleven streets uniting each year for that purpose; so that every street is called upon thus to contribute once in seven or eight years, except that in which the courtesans reside, which must pay every year. The celebration consists in processions, plays, dances, etc., and as something new must always be got up, at least in the way of dress, it is attended with heavy expense.
The temple of Suwa, according to Kämpfer’s description, stands not far from the town, upon the mountain Tutla (?). A fine staircase, of two hundred stone steps, leads up to it. The temple court, somewhat lower than the Miya itself, extends down the declivity of the mountain. At the entry of this court, next the gate, is a long, open room, or gallery, where plays are acted, for the diversion both of Suwa and his worshippers. This room is curiously adorned with many pictures and carved images, placed there by devout worshippers in fulfilment of vows made in some moment of exigency. Further off stand some small chapels of wood, clean and neat, but without ornaments. In the same court stand the temples of Morisaki Gongen, and Sumiyoshi, each of whom has also his Mikoshi, or small eight-angular shrine, curiously adorned, and hanging in beautiful polls, wherein their images or relics are carried about upon festivals. Kämpfer also observed, in the same enclosure, another small chapel, built in honor of the god and lord of thousand legs, hung about with numbers of his clients, that is, with legs of all sorts and sizes, given by his worshippers.
There are several festivals sacred to Suwa, of which the chief is on the seventh, eighth, and ninth days of the ninth month[157]. On the eighth the god is diverted in his temple, at the expense of rich and devout people, with a musical concert, performed by boys beating upon drums and bells—the very same music made use of to appease the supreme kami Tenshō Daijin, when, out of disdain and anger, she hid herself in a cavern, and thereby deprived the world of light and sunshine[158].
The great festival of the ninth consists of processions through the principal streets, and spectacles exhibited in a temporary building of bamboo, with a thatched roof, open towards the square on which it is erected. “The whole building,” says Kämpfer, “scarcely deserves to be compared to one of our barns, it is so mean and simple, for it must be purposely built according to the sorry architecture of their indigent ancestors.” A tall fir is planted on each side of the front of this temple, and three sides of the square are built round with benches and scaffolds for the convenience of spectators.
Festival with Mikoshi
“Everything being ready, the Shintō clergy of the city appear in a body, with a splendid retinue, bringing over in procession the Mikoshi of their great Suwa, as, also, to keep him company, that of Sumiyoshi. Morisaki Gongen is left at home, as there is no instance in the history of his life and actions from which it could be inferred that he delighted in walking and travelling.
“The Shintō clergy, upon this occasion, style themselves Ōtomo(?)—that is, the high great retinue—which pompous title notwithstanding, the alms-chest is one of the principal things they carry in the procession, and, indeed,” says Kämpfer, “to very good purpose, for there is such a multitude of things thrown among them by the crowds of superstitious spectators, as if they had a mind out of mere charity to stone them.