Lafcadio Hearn's Japan (24 page)

I bought a copy of the ballad, which was about a recent double suicide:
“The Sorrowful Ditty of Tamayoné and Takejir
ō
,—composed by Takenaka Yoné of Number Fourteen of the Fourth Ward of Nippon-bashi in the South District of the City of
Ō
saka.”
It had evidently been printed from a wooden block; and there were two little pictures. One showed a girl and boy sorrowing together. The other—a sort of tail-piece—represented a writing-stand, a dying lamp, an open letter, incense burning in a cup, and a vase containing
shikimi,
—that sacred plant used in the Buddhist ceremony of making offerings to the dead. The queer cursive text, looking like shorthand written perpendicularly, yielded to translation only lines like these:—

“In the First Ward of Nichi-Hommachi, in far-famed
Ō
saka—
Othe sorrow of this tale of shinj
Å«
!

“Tamayoné, aged nineteen,—to see her was to love her, for Takejir
ō
, the young workman.

“For the time of two lives they exchange mutual vows—
O the sorrow of loving a courtezan!

“On their arms they tattoo a Raindragon, and the character ‘Bamboo'—thinking never of the troubles of life. . . .

“But he cannot pay the fifty-five yen for her freedom—
O the anguish of Takejir
ō
's heart!

“Both then vow to pass away together, since never in this world can they become husband and wife.

“Trusting to her comrades for incense and for flowers—
O the pity of their passing like the dew!

“Tamayoné takes the wine-cup filled with water only, in which those about to die pledge each other. . . .

“O the tumult of the lovers' suicide!—O the pity of their lives thrown away!”

In short, there was nothing very unusual in the story, and nothing at all remarkable in the verse. All the wonder of the performance had been in the voice of the woman. But long after the singer had gone that voice seemed still to stay,—making within me a sense of sweetness and of sadness so strange that I could not but try to explain to myself the secret of those magical tones.

And I thought that which is hereafter set down:—

All song, all melody, all music, means only some evolution of the primitive natural utterance of feeling,—of that untaught speech of sorrow, joy, or passion, whose words are tones. Even as other tongues vary, so varies this language of tone combinations. Wherefore melodies which move us deeply have no significance to Japanese ears; and melodies that touch us not at all make powerful appeal to the emotion of a race whose soul-life differs from our own as blue differs from yellow. . . . Still, what is the reason of the deeper feelings evoked in me—an alien—by this Oriental chant that I could never even learn,—by this common song of a blind woman of the people? Surely that in the voice of the singer there were qualities able to make appeal to something larger than the sum of the experience of one race,—to something wide as human life, and ancient as the knowledge of good and evil.

One summer evening, twenty-five years ago, in a London park, I heard a girl say “Good-night” to somebody passing by. Nothing but those two little words,—“Good-night.” Who she was I do not know: I never even saw her face; and I never heard that voice again. But still, after the passing of one hundred seasons, the memory of her “Good-night” brings a double thrill incomprehensible of pleasure and pain,—pain and pleasure, doubtless, not of me, not of my own existence, but of pre-existences and dead suns.

For that which makes the charm of a voice thus heard but once cannot be of this life. It is of lives innumerable and forgotten. Certainly there never have been two voices having precisely the same quality. But in the utterance of affection there is a tenderness of timbre common to the myriad million voices of all humanity. Inherited memory makes familiar to even the newly-born the meaning of this tone of caress. Inherited, no doubt, likewise, our knowledge of the tones of sympathy, of grief, of pity. And so the chant of a blind woman in this city of the Far East may revive in even a Western mind emotion deeper than individual being,—vague dumb pathos of forgotten sorrows,—dim loving impulses of generations unremembered. The dead die never utterly. They sleep in the darkest cells of tired hearts and busy brains,—to be startled at rarest moments only by the echo of some voice that recalls their past.

Kimiko

Wasuraruru
Mi naran to om
ō
Kokoro koso
Wasuré nu yori mo
Omoi nari-keré.
¹

I

The name is on a paper-lantern at the entrance of a house in the Street of the Geisha.

Seen at night the street is one of the queerest in the world. It is narrow as a gangway; and the dark shining woodwork of the house fronts, all tightly closed,—each having a tiny sliding door with paper-panes that look just like frosted glass,—make you think of first-class passenger-cabins. Really the buildings are several stories high; but you do not observe this at once,—especially if there be no moon,—because only the lower stories are illuminated up to their awnings, above which all is darkness. The illumination is made by lamps behind the narrow paper-paned doors, and by the paper-lanterns hanging outside,—one at every door. You look down the street between two lines of these lanterns,—lines converging far-off into one motionless bar of yellow light. Some of the lanterns are egg-shaped, some cylindrical; others four-sided or six-sided; and Japanese characters are beautifully written upon them. The street is very quiet,—silent as a display of cabinet-work in some great exhibition after closing-time. This is because the inmates are mostly away,—attending banquets and other festivities. Their life is of the night.

The legend upon the first lantern to the left as you go south is
“Kinoya: uchi O-Kata;”
and that means The House of Gold wherein O-Kata dwells. The lantern to the right tells of the House of Nishimura, and of a girl Miyotsuru,—which name signifies The Stork Magnificently Existing. Next upon the left comes the House of Kajita;—and in that house are Kohana, the Flower-Bud, and Hinako, whose face is pretty as the face of a doll. Opposite is the House Nagaye, wherein live Kimika and Kimiko. . . . And this luminous double litany of names is half-a-mile long.

The inscription on the lantern of the last-named house reveals the relationship between Kimika and Kimiko,—and yet something more; for Kimiko is styled
Ni-dai-me,
an honorary untranslatable title which signifies that she is only Kimiko No. 2. Kimika is the teacher and mistress: she has educated two geisha, both named, or rather renamed by her, Kimiko; and this use of the same name twice is proof positive that the first Kimiko—
Ichi-dai-me
—must have been celebrated. The professional appellation borne by an unlucky or unsuccessful geisha is never given to her successor.

If you should ever have good and sufficient reason to enter the house,—pushing open that lantern-slide of a door which sets a gong-bell ringing to announce visits,—you might be able to see Kimika, provided her little troupe be not engaged for the evening. You would find her a very intelligent person, and well worth talking to. She can tell, when she pleases, the most remarkable stories,—real flesh-and-blood stories,—true stories of human nature. For the Street of the Geisha is full of traditions,—tragic, comic, melodramatic;—every house has its memories;—and Kimika knows them all. Some are very, very terrible; and some would make you laugh; and some would make you think. The story of the first Kimiko belongs to the last class. It is not one of the most extraordinary; but it is one of the least difficult for Western people to understand.

II

There is no more Ichi-dai-me Kimiko: she is only a remembrance. Kimika was quite young when she called that Kimiko her professional sister.

“An exceedingly wonderful girl,” is what Kimika says of Kimiko. To win any renown in her profession, a geisha must be pretty or very clever; and the famous ones are usually both,—having been selected at a very early age by their trainers according to the promise of such qualities. Even the commoner class of singing-girls must have some charm in their best years,—if only that
beauté du diable
which inspired the Japanese proverb that even a devil is pretty at eighteen.
²
But Kimiko was much more than pretty. She was according to the Japanese ideal of beauty; and that standard is not reached by one woman in a hundred thousand. Also she was more than clever: she was accomplished. She composed very dainty poems,—could arrange flowers exquisitely, perform tea-ceremonies faultlessly, embroider, make silk mosaic: in short, she was genteel. And her first public appearance made a flutter in the fast world of Ky
ō
to. It was evident that she could make almost any conquest she pleased, and that fortune was before her.

But it soon became evident, also, that she had been perfectly trained for her profession. She had been taught how to conduct herself under almost any possible circumstances; for what she could not have known Kimika knew everything about: the power of beauty, and the weakness of passion; the craft of promises and the worth of indifference; and all the folly and evil in the hearts of men. So Kimiko made few mistakes and shed few tears. By and by she proved to be, as Kimika wished,—slightly dangerous. So a lamp is to night-fliers: otherwise some of them would put it out. The duty of the lamp is to make pleasant things visible: it has no malice. Kimiko had no malice, and was not too dangerous. Anxious parents discovered that she did not want to enter into respectable families, nor even to lend herself to any serious romances. But she was not particularly merciful to that class of youths who sign documents with their own blood, and ask a dancing-girl to cut off the extreme end of the little finger of her left hand as a pledge of eternal affection. She was mischievous enough with them to cure them of their folly. Some rich folks who offered her lands and houses on condition of owning her, body and soul, found her less merciful. One proved generous enough to purchase her freedom unconditionally, at a price which made Kimika a rich woman; and Kimiko was grateful,—but she remained a geisha. She managed her rebuffs with too much tact to excite hate, and knew how to heal despairs in most cases. There were exceptions, of course. One old man, who thought life not worth living unless he could get Kimiko all to himself, invited her to a banquet one evening, and asked her to drink wine with him. But Kimika, accustomed to read faces, deftly substituted tea (which has precisely the same color) for Kimiko's wine, and so instinctively saved the girl's precious life,—for only ten minutes later the soul of the silly host was on its way to the Meido alone, and doubtless greatly disappointed. . . . After that night Kimika watched over Kimiko as a wild cat guards her kitten.

The kitten became a fashionable mania, a craze,—a delirium,— one of the great sights and sensations of the period. There is a foreign prince who remembers her name: he sent her a gift of diamonds which she never wore. Other presents in multitude she received from all who could afford the luxury of pleasing her; and to be in her good graces, even for a day, was the ambition of the “gilded youth.” Nevertheless she allowed no one to imagine himself a special favorite, and refused to make any contracts for perpetual affection. To any protests on the subject she answered that she knew her place. Even respectable women spoke not unkindly of her,—because her name never figured in any story of family unhappiness. She really kept her place. Time seemed to make her more charming. Other geisha grew into fame, but no one was even classed with her. Some manufacturer secured the sole right to use her photograph for a label; and that label made a fortune for the firm.

But one day the startling news was abroad that Kimiko had at last shown a very soft heart. She had actually said good-by to Kimika, and had gone away with somebody able to give her all the pretty dresses she could wish for,—somebody eager to give her social position also, and to silence gossip about her naughty past,—somebody willing to die for her ten times over, and already half-dead for love of her. Kimika said that a fool had tried to kill himself because of Kimiko, and that Kimiko had taken pity on him, and nursed him back to foolishness. Taiko Hideyoshi had said that there were only two things in this world which he feared,—a fool and a dark night. Kimika had always been afraid of a fool; and a fool had taken Kimiko away. And she added, with not unselfish tears, that Kimiko would never come back to her: it was a case of love on both sides for the time of several existences.