A Fantasy of Far Japan; Or, Summer Dream Dialogues. Kencho Suematsu
the character and attainments, even habits and tastes of the would-be bride or bridegroom as the case may be, and I dare say the faces also, even the number of the black spots on it.'
—'Please be serious.'
—'I don't think private detectives were employed, as in the Slater case.'
—'No joking, please.'
—'But nearly similar things used to be done. Friends and schoolmates, servants, ex-servants, teachers of music, jewellers, fishmongers, grocers, tailors, dress-makers, or anybody who had any connection with the family whatever, were one and all an object from whom as much information as possible was extracted directly or indirectly; above all, Mrs. Hairdresser, who knows such matters best. You know, our ladies arrange their hair in all sorts of very complicated forms, and hairdressers make it a regular profession, paying professional visits constantly to ladies' homes, and our ladies do not mind wasting time in such matters any more than their sisters of other countries.'
—'Please to the point.'
—'I am to the point. It was only after these inquiries that, to use a diplomatic phrase, pourparler for negotiations began. Of course all the inquiries were done by some one else on behalf of the would-be bride or bridegroom. They would certainly be too delicate for a girl of, say, "sweet seventeen," to carry them out for herself. Don't you agree with me on that point?'
—'Life is short. Please don't spin out webs too long. But how do matters stand nowadays?'
—'Much the same,' I replied. 'But in our own days society gives much more facility for young people to see and know each other. And I may add that nowadays photos play a great part in the first stage of the inquiries. They say photos are for studying physiognomy in order to discern the character and intellectual capabilities, but I am afraid it is also to study the looks as well, or rather chiefly. Human nature is weak after all.'
—'Still spinning out.'
—'Oh no! I am only giving out the essence.'
—'Let us then proceed with the ceremony.'
—'Very well, the essential part of the ceremony consists in the bride and bridegroom partaking saké cups, as you know, but perhaps not exactly as your acquaintance did,' said I teasingly. 'The room wherein that part of the ceremony is performed is kept sacred for the occasion. The bridegroom is led to that room by the officiating person, and the bride by his wife. In our rooms there is a small part, a little elevated, called Toko-no-ma (alcove): it is the place of honour in the room, and it is there that the Kakemono (hanging picture or writing) is hung—sometimes a single one, sometimes a pair, or a series of three. We do not hang up pictures all over the walls like a picture exhibition; and it is also there that we arrange flowers and plants in vases. The Kakemono would be the chosen ones having some signification of felicity. There are many subjects for such purposes, for instance, the landscape of the mythological island of Mount Horai, where immortals are said to reside, or cranes and long hair-tailed mythical tortoises, or the three twin plants of pine, plum, and bamboo. All of these objects are popularly viewed as emblems of longevity. The flowers or plants arranged in the vase for the occasion would also be of the same nature.'
—'And you have a special art in the arrangement of flowers, I understand, not as we do in the West by simply putting bunches into the vase without any discrimination.'
—'Just so!' I answered, 'and there would be a Shimadai on Toko-no-ma.'
—'What's that?'
—'Shimadai is a representation of the Mount Horai which I have just mentioned. In later days Jo-tom-ba, more correctly Jo-to-uba, that is, the old couple of Takasago, came to be usually to be represented with it as well Jo-tom-ba were mythical man and wife who lived very long and happy lives. They are supposed to have dwelt in the beautiful pine forests on the lovely seashore of Takasago, where they spent their days in gathering pine needles. Small artificial mounts and pine forests and figures of the aged couple are tastefully arranged on a clean tray of white wood, the edges of the tray being indented in order to represent an idea of the sea-coast, with some cranes on the branches of the pine, generally with a nest and young ones, as well as the hair-tailed tortoise on the seashore. Cranes and tortoises play their part in our ceremonies so often, you see. I will here tell you the gist of a common song. Once a crane married a tortoise. Now, cranes are supposed to live one thousand years and tortoises ten thousand years. In the course of a duet pouring forth their touching sentiments, the wife gives vent to her thought to this effect: she feels sad at the idea that after a happy life of nigh a thousand years she would have to lead a young widow's life for nine thousand years.'
—'For us mankind a thousand years is long enough. But please proceed with the main story.'
—'Very well,' said I: 'the bridegroom and bride are seated vis-à-vis before the Toko-no-ma at a distance, with the officiating person next the bridegroom, and his wife next the bride, each giving assistance to the bridegroom and bride respectively. The me-cho (she-butterfly) and o-cho (he-butterfly) enter.'
—'What's that?'
—'Well, you see, butterflies are very beautiful, and when in couples are very amiable to each other. If you see them flying about in the fields, now touching the flowers, now playing with each other, you can well imagine what happy lives they lead. At the wedding two virgins are chosen to represent a male and a female butterfly. They each hold a 'choshi,' a vessel with a long handle for holding saké. To one of the vessels a male butterfly made of paper is fastened, and to the other a female. They both, simultaneously, pour out a few drops for the bride and bridegroom successively, the idea being that two butterflies help the rites.'
—'Your idea of butterflies seems to be different from ours.'
—'Well, we do not attach to them the sense of frivolity. At all events, in case of wedding the point taken into consideration is different. They are also pictured as a symbol of Dream based upon a discourse of an ancient Chinese philosopher, who said that when he became a butterfly in a dream he had no other notion than being a real butterfly, and therefore he could not vouchsafe that his present ego was not similarly a phenomenon of a greater Dream.'
—'But you haven't yet explained where and how the cups are brought in.'
—'The cups generally consist of a set of three, usually of plain, clean earthenware. They are put on a tray of pure white wood with legs called Sambo—a dumb waiter, if you like. They are generally placed together with the saké vase at the Toko-no-ma before the ceremony begins, and are taken out at the bidding of the officiating person by the butterflies. The exchanging of cups between the bride and bridegroom is rather complicated. Each time the bride or bridegroom holds up the cup, three drops of saké are poured into it by each butterfly, and this is repeated three times, and therefore this part is called San-san-kudo, that is, three threes making nine, and that phrase is commonly used to signify a marriage ceremony. This part of the ceremony requires much formality. People concerned have to take some lessons beforehand. But remember people generally do not indulge on such occasions in swallowing too great a quantity, whatever their capacities may be.'
—'No joking, please.'
—'Very well. When this part of the ceremony is over, the officiating person, or a special person who is called into the next room for the purpose, sings a short song called Takasago (one of the classical Japanese songs called "utai"). The song is founded upon the story of the aged couple of whom I spoke, and is regarded as a contribution of good presage. But remember, officiating persons are often indifferent singers, consequently they often merely utter in tone a few words of the song. I remember a very amusing incident. It was told me by the Marchioness Ito. At the wedding of Isaburo Yamagata, son of Marquis Yamagata, Marquis Ito was the officiating person. He was unable to sing, so he said when the moment for singing came, "Isa, let us suppose I have sung. If father asks you what I have done, tell him I have sung all right." The marchioness restrained herself with great difficulty from bursting into laughter. That kind of incident sometimes occurs in reality.'
—'No wonder: people are not always singers. But pray proceed.'
—'The