Редьярд Джозеф Киплинг
From Sea to Sea; Letters of Travel

No. XVI

THE PARTY IN THE PARLOUR WHO PLAYED GAMES. A COMPLETE HISTORY OF ALL MODERN JAPANESE ART; A SURVEY OF THE PAST, AND A PROPHECY OF THE FUTURE, ARRANGED AND COMPOSED IN THE KIOTO FACTORIES.

 
"Oh, brave new world that has such creatures in it,
How beautiful mankind is!"
 

How I got to the tea-house I cannot tell. Perhaps a pretty girl waved a bough of cherry blossom at me, and I followed the invitation. I know that I sprawled upon the mats and watched the clouds scudding across the hills and the logs flying down the rapids, and smelt the smell of the raw peeled timber, and listened to the grunts of the boatmen as they wrestled with that and the rush of the river, and was altogether happier than it is lawful for a man to be.

The lady of the tea-house insisted upon screening us off from the other pleasure-parties who were tiffining in the same verandah. She brought beautiful blue screens with storks on them and slid them into grooves. I stood it as long as I could. There were peals of laughter in the next compartment, the pattering of soft feet, the clinking of little dishes, and at the chinks of the screens the twinkle of diamond eyes. A whole family had come in from Kioto for the day's pleasuring. Mamma looked after grandmamma, and the young aunt looked after a guitar, and the two girls of fourteen and fifteen looked after a merry little tomboy of eight, who, when she thought of it, looked after the baby who had the air of looking after the whole party. Grandmamma was dressed in dark blue, mamma in blue and grey, the girls had gorgeous dresses of lilac, fawn, and primrose crêpe with silk sashes, the colour of apple blossom and the inside of a newly cut melon; the tomboy was in old gold and russet brown; but the baby tumbled his fat little body across the floor among the dishes in the colours of the Japanese rainbow, which owns no crude tints. They were all pretty, all except grandmamma, who was merely good-humoured and very bald, and when they had finished their dainty dinner, and the brown stands, the blue and white crockery, and the jade-green drinking-cups had been taken away, the aunt played a little piece on the samisen, and the girls played blindman's-buff all round the tiny room.

Flesh and blood could not have stayed on the other side of the screens. I wanted to play too, but I was too big and too rough, and so could only sit in the verandah, watching these dainty bits of Dresden at their game. They shrieked and giggled and chattered and sat down on the floor with the innocent abandon of maidenhood, and broke off to kiss the baby when he showed signs of being overlooked. They played puss-in-the-corner, their feet tied with blue and white handkerchiefs because the room did not allow unfettered freedom of limb, and when they could play no more for laughing, they fanned themselves as they lay propped up against the blue screens, – each girl a picture no painter could reproduce, – and I shrieked with the best of them till I rolled off the verandah and nearly dropped into the laughing street. Was I a fool? Then I fooled in good company, for an austere man from India – a person who puts his faith in race-horses and believes nothing except the Civil Code – was also at Arashima that day. I met him flushed and excited.

"'Had a lively time," he panted, with a hundred children at his heels. "There's a sort of roulette table here where you can gamble for cakes. I bought the owner's stock-in-trade for three dollars and ran the Monte Carlo for the benefit of the kids – about five thousand of 'em. Never had such fun in my life. It beats the Simla lotteries hollow. They were perfectly orderly till they had cleared the tables of everything except a big sugar-tortoise. Then they rushed the bank, and I ran away."

And he was a hard man who had not played with anything as innocent as sweetmeats for many years!

When we were all weak with laughing, and the Professor's camera was mixed up in a tangle of laughing maidens to the confusion of his pictures, we too ran away from the tea-house and wandered down the river bank till we found a boat of sewn planks which poled us across the swollen river, and landed us on a little rocky path overhanging the water where the iris and the violet ran riot together and jubilant waterfalls raced through the undergrowth of pine and maple. We were at the foot of the Arashima rapids, and all the pretty girls of Kioto were with us looking at the view. Up-stream a lonely black pine stood out from all its fellows to peer up the bend where the racing water ran deep in oily swirls. Down-stream the river threshed across the rocks and troubled the fields of fresh logs on its bosom, while men in blue drove silver-white boats gunwale-deep into the foam of its onset and hooked the logs away. Underfoot the rich earth of the hillside sent up the breath of the turn of the year to the maples that had already caught the message from the fire-winds of April. Oh! it was good to be alive, to trample the stalks of the iris, to drag down the cherry-bloom spray in a wash of dew across the face, and to gather the violets for the mere pleasure of heaving them into the torrent and reaching out for fairer flowers.

"What a nuisance it is to be a slave to the camera," said the Professor, upon whom the dumb influences of the season were working though he knew it not.

"What a nuisance it is to be a slave to the pen," I answered, for the spring had come to the land. I had hated the spring for seven years because to me it meant discomfort.

"Let us go straight home and see the flowers come out in the Parks."

"Let us enjoy what lies to our hand, you Philistine." And we did till a cloud darkened and a wind ruffled the river reaches, and we returned to our 'rickshaws sighing with contentment.

"How many people do you suppose the land supports to the square mile?" said the Professor, at a turn in the homeward road. He had been reading statistics.

"Nine hundred," I said at a venture. "It's thicker set with humans than Sarun or Behar. Say one thousand."

"Two thousand two hundred and fifty odd. Can you believe it?"

"Looking at the landscape I can, but I don't suppose India will believe it. S'pose I write fifteen hundred?"

"They'll say you exaggerate just the same. Better stick to the true total. Two thousand two hundred and fifty-six to the square mile, and not a sign of poverty in the houses. How do they do it?"

I should like to know the answer to that question. Japan of my limited view is inhabited almost entirely by little children whose duty is to prevent their elders from becoming too frivolous. The babies do a little work occasionally, but their parents interfere by petting them. At Yami's hotel the attendance is in the hands of ten-year-olds because everybody else has gone out picnicing among the cherry trees. The little imps find time to do a man's work and to scuffle on the staircase between whiles. My special servitor, called "The Bishop" on account of the gravity of his appearance, his blue apron, and gaiters, is the liveliest of the lot, but even his energy cannot account for the Professor's statistics of population…

I have seen one sort of work among the Japanese, but it was not the kind that makes crops. It was purely artistic. A ward of the city of Kioto is devoted to manufactures. A manufacturer in this part of the world does not hang out a sign. He may be known in Paris and New York: that is the concern of the two cities. The Englishman who wishes to find his establishment in Kioto has to hunt for him up and down slums with the aid of a guide. I have seen three manufactories. The first was of porcelain-ware, the second of cloissonnée, and the third of lacquer, inlay, and bronzes. The first was behind black wooden palings, and for external appearance might just as well have been a tripe-shop. Inside sat the manager opposite a tiny garden four feet square in which a papery-looking palm grew out of a coarse stoneware pot and overshadowed a dwarfed pine. The rest of the room was filled with pottery waiting to be packed – modern Satsuma for the most part, the sort of thing you get at an auction.

"This made send Europe – India – America," said the manager, calmly. "You come to see?"

He took us along a verandah of polished wood to the kilns, to the clay vats, and the yards where the tiny "saggers" were awaiting their complement of pottery. There are differences many and technical between Japanese and Burslem pottery in the making, but these are of no consequence. In the moulding house, where they were making the bodies of Satsuma vases, the wheels, all worked by hand, ran true as a hair. The potter sat on a clean mat with his tea-things at his side. When he had turned out a vase-body he saw that it was good, nodded appreciatively to himself, and poured out some tea ere starting the next one. The potters lived close to the kilns and had nothing pretty to look at. It was different in the painting rooms. Here in a cabinet-like house sat the men, women, and boys who painted the designs on the vases after the first firing. That all their arrangements were scrupulously neat is only saying that they were Japanese; that their surroundings were fair and proper is only saying that they were artists. A sprig of a cherry blossom stood out defiantly against the black of the garden paling; a gnarled pine cut the blue of the sky with its spiky splinters as it lifted itself above the paling, and in a little pond the iris and the horsetail nodded to the wind. The workers when at fault had only to lift their eyes, and Nature herself would graciously supply the missing link of a design. Somewhere in dirty England men dream of craftsmen working under conditions which shall help and not stifle the half-formed thought. They even form guilds and write semi-rhythmical prayers to Time and Chance and all the other gods that they worship, to bring about the desired end. Would they have their dream realised, let them see how they make pottery in Japan, each man sitting on a snowy mat with loveliness of line and colour within arm's length of him, while with downcast eyes he – splashes in the conventional diaper of a Satsuma vase as fast as he can! The Barbarians want Satsuma and they shall have it, if it has to be made in Kioto one piece per twenty minutes. So much for the baser forms of the craft!

The owner of the second establishment lived in a blackwood cabinet – it was profanation to call it a house – alone with a bronze of priceless workmanship, a set of blackwood furniture, and all the medals that his work had won for him in England, France, Germany, and America. He was a very quiet and cat-like man, and spoke almost in a whisper. Would we be pleased to inspect the manufactory? He led us through a garden – it was nothing in his eyes, but we stopped to admire long. Stone lanterns, green with moss, peeped through clumps of papery bamboos where bronze storks were pretending to feed. A dwarfed pine, its foliage trimmed to dish-like plaques, threw its arms far across a fairy pond where the fat, lazy carp grubbed and rooted, and a couple of eared grebes squawked at us from the protection of the – waterbutt. So perfect was the silence of the place that we heard the cherry blossoms falling into the water and the lisping of the fish against the stones. We were in the very heart of the Willow-Pattern Plate and loath to move for fear of breaking it. The Japanese are born bower-birds. They collect water-worn stones, quaintly shaped rocks, and veined pebbles for the ornamentation of their homes. When they shift house they take the garden away with them – pine trees and all – and the incoming tenant has a free hand.

Half a dozen steps took us over the path of mossy stones to a house where the whole manufactory was at work. One room held the enamel powders all neatly arranged in jars of scrupulous cleanliness, a few blank copper vases ready to be operated on, an invisible bird who whistled and whooped in his cage, and a case of gaily painted butterflies ready for reference when patterns were wanted. In the next room sat the manufactory – three men, five women, and two boys – all as silent as sleep. It is one thing to read of cloissonnée making, but quite another to watch it being made. I began to understand the cost of the ware when I saw a man working out a pattern of sprigs and butterflies on a plate about ten inches in diameter. With finest silver ribbon wire, set on edge, less than the sixteenth of an inch high, he followed the curves of the drawing at his side, pinching the wire into tendrils and the serrated outlines of leaves with infinite patience. A rough touch on the raw copper-plate would have sent the pattern flying into a thousand disconnected threads. When all was put down on the copper, the plate would be warmed just sufficiently to allow the wires to stick firmly to the copper, the pattern then showing in raised lines. Followed the colouring, which was done by little boys in spectacles. With a pair of tiniest steel chopsticks they filled from bowls at their sides each compartment of the pattern with its proper hue of paste. There is not much room allowed for error in filling the spots on a butterfly's wing with avanturine enamel when the said wings are less than an inch across. I watched the delicate play of wrist and hand till I was wearied, and the manager showed me his patterns – terrible dragons, clustered chrysanthemums, butterflies, and diapers as fine as frost on a window-pane – all drawn in unerring line. "Those things are our subjects. I compile from them, and when I want some new colours I go and look at those dead butterflies," said he. After the enamel has been filled in, the pot or plate goes to be fired, and the enamel bubbles all over the boundary lines of wires, and the whole comes from the furnace looking like delicate majolica. It may take a month to put a pattern on the plate in outline, another month to fill in the enamel, but the real expenditure of time does not commence till the polishing. A man sits down with the rough article, all his tea-things, a tub of water, a flannel, and two or three saucers full of assorted pebbles from the brook. He does not get a wheel with tripoli, or emery, or buff. He sits down and rubs. He rubs for a month, three months, or a year. He rubs lovingly, with his soul in his finger ends, and little by little the efflorescence of the fired enamel gives way, and he comes down to the lines of silver, and the pattern in all its glory is there waiting for him. I saw a man who had only been a month over the polishing of one little vase five inches high. He would go on for two months. When I am in America he will be rubbing still, and the ruby-coloured dragon that romped on a field of lazuli, each tiny scale and whisker a separate compartment of enamel, will be growing more lovely.

"There is also cheap cloissonnée to be bought," said the manager, with a smile. "We cannot make that. The vase will be seventy dollars."

I respected him for saying "cannot" instead of "do not." There spoke the artist.

Our last visit was paid to the largest establishment in Kioto, where boys made gold inlay on iron, sitting in camphor-wood verandahs overlooking a garden lovelier than any that had gone before. They had been caught young, even as is the custom in India. A real grown-up man was employed on the horrible story, in iron, gold, and silver, of two priests who waked up a Rain-dragon and had to run for it, all round the edge of a big shield; but the liveliest worker of the batch was a small fat baby who had been given a tenpenny nail, a hammer, and a block of metal to play with, that he might soak in the art by which he would live, through the pores of his skin. He crowed and chuckled as he whacked. There are not many five-year-olds in England who could hammer anything without pulping their little pink fingers. The baby had learned how to hit straight. On the wall of the room hung a Japanese painting of the Apotheosis of Art. It represented with fidelity all the processes of pottery from the digging of the clay to the last firing. But all the pencilled scorn of the artist was reserved for the closing scene, where an Englishman, his arm round his wife's waist, was inspecting a shop full of curios. The Japanese are not impressed with the grace of our clothing or the beauty of our countenances. Later we beheld the manufacture of gold lacquer, which is laid on speck by speck from an agate palette fitted on the artist's thumb; and the carving of ivory, which is exciting until you begin to realise that the graver never slips.

"A lot of their art is purely mechanical" said the Professor, when he was safe back in the hotel.

"So's a lot of ours – 'specially our pictures. Only we can't be spiritedly mechanical," I answered. "Fancy a people like the Japanese solemnly going in for a constitution. Observe! The only two nations with constitution worth having are the English and the Americans. The English can only be artistic in spots and by way of the art of other nations – Sicilian tapestries, Persian saddle-bags, Khoten carpets, and the sweepings of pawn-brokers' shops. The Americans are artistic so long as a few of 'em can buy their Art to keep abreast of the times with. Spain is artistic, but she is also disturbed at intervals; France is artistic, but she must have her revolution every twenty years for the sake of fresh material; Russia is artistic, but she occasionally wishes to kill her Czar, and has no sort of Government; Germany is not artistic, because she experienced religion; and Italy is artistic, because she did very badly. India – "

"When you have finished your verdict on the world, perhaps you'll go to bed."

"Consequently," I continued, with scorn, "I am of opinion that a constitution is the worst thing in the world for a people who are blessed with souls above the average. Now the first demand of the artistic temperament is mundane uncertainty. The second is – "

"Sleep," said the Professor, and left the room.

No. XVII

OF THE NATURE OF THE TOKAIDO AND JAPANESE RAILWAY CONSTRUCTION. ONE TRAVELLER EXPLAINS THE LIFE OF THE SAHIB-LOG, AND ANOTHER THE ORIGIN OF DICE. OF THE BABIES IN THE BATH TUB AND THE MAN IN D. T.

"When I went to Hell I spoke to the man on the road."

– Old Saw.

You know the story of the miner who borrowed a dictionary and returned it with the remark that the stories, though interesting in the main, were too various. I have the same complaint to make against Japanese scenery – twelve hours of it by train from Nagoya to Yokohama. About seven hundred years ago the king of those days built a sea-road which he called the Tokaido (or else all the sea-coast was called the Tokaido, but it's of no importance), which road endures to the present. Later on, when the English engineer appeared, he followed the Grand Trunk more or less closely, and the result has been a railway that any nation might take off their hat to. The last section of the through line from Kioto to Yokohama was only opened five days before the Professor and I honoured it with an unofficial inspection.

The accommodation of all kinds is arranged for the benefit of the Japanese; and this is distressing to the foreigner, who expects in a carriage remotely resembling E. I. R. rolling-stock the conveniences of that pea-green and very dusty old line. But it suits the Japanese admirably: they hop out at every other station —pro re nata– and occasionally get left behind. Two days ago they managed to kill a Government official of high standing between a footboard and a platform, and to-day the Japanese papers are seriously discussing the advantages of lavatories. Far be it from me to interfere with the arrangements of an artistic empire; but for a twelve hours' run there might at least be arrangements.

We had left the close-packed cultivation at the foot of the hills and were running along the shores of a great lake, all steel-blue from one end to the other, except where it was dotted with little islands. Then the lake turned into an arm of the sea, and we ran across it on a cut-stone causeway, and the profligacy of the pines ceased, as the trees had to come down from clothing dank hills, and fight with bowed head, outstretched arms, and firmly planted feet, against the sands of the Pacific, whose breakers were spouting and blowing not a quarter of a mile away from the causeway. The Japs know all about forestry. They stake down wandering sand-torrents, which are still allowed to ruin our crops in the Hoshiarpur district, and they plug a shifting sand-dune with wattle dams and pine seedlings as cleverly as they would pin plank to plank. Were their forest officers trained at Nancy, or are they local products? The stake-binding used to hold the sand is of French pattern, and the diagonal planting out of the trees is also French.

Half a minute after the train dropped this desolate, hardly controlled beach it raced through four or five miles of the suburbs of Patna, but a clean and glorified Patna bowered in bamboo plantations. Then it hit a tunnel and sailed forth into a section of the London, Brighton, and South Coast, or whatever the line is that wants to make the Channel tunnel. At any rate, the embankment was on the beach, and the waves lapped the foot of it, and there was a wall of cut rock to landward. Then we disturbed many villages of fishermen, whose verandahs gave on to the track, and whose nets lay almost under our wheels. The railway was still a new thing in that particular part of the world, for mothers held up their babes to see it.

Any one can keep pace with Indian scenery, arranged as it is in reaches of five hundred miles. This blinding alternation of field, mountain, sea-beach, forest, bamboo grove, and rolling moor covered with azalea blossoms was too much for me, so I sought the society of a man who had lived in Japan for twenty years.

"Yes, Japan's an excellent country as regards climate. The rains begin in May or latter April. June, July, and August are hot months. I've known the thermometer as high as 86° at night, but I'd defy the world to produce anything more perfect than the weather between September and May. When one gets seedy, one goes to the hot springs in the Hakone mountains close to Yokohama. There are heaps of places to recruit in, but we English are a healthy lot. Of course we don't have half as much fun as you do in India. We are a small community, and all our amusements are organised by ourselves for our own benefit – concerts, races, and amateur theatricals and the like. You have heaps of 'em in India, haven't you?"

"Oh, yes!" I said, "we enjoy ourselves awfully, 'specially about this time of the year. I quite understand, though, that small communities dependent on themselves for enjoyment are apt to feel a little slow and isolated – almost bored, in fact. But you were saying – ?"

"Well, living is not very dear, and house rent is. A hundred dollars a month gets you a decent house and you can get one for sixty. But house property is down just now in Yokohama. The races are on in Yokohama to-day and Monday. Are you going? No? You ought to go and see all the foreigners enjoying themselves. But I suppose you've seen much better things in India, haven't you? You haven't anything better than old Fuji – Fujiyama. There he is now to the left of the line. What do you think of him?"

I turned and beheld Fujiyama across a sea of upward-sloping fields and woods. It is about fourteen thousand feet high – not very much, according to our ideas. But fourteen thousand feet above the sea when one stands in the midst of sixteen-thousand-foot peaks, is quite another thing from the same height noted at sea-level in a comparatively flat country. The labouring eye crawls up every foot of the dead crater's smooth flank, and at the summit confesses that it has seen nothing in all the Himalayas to match the monster. I was satisfied. Fujiyama was exactly as I had seen it on fans and lacquer boxes; I would not have sold my sight of it for the crest of Kinchinjunga flushed with the morning. Fujiyama is the keynote of Japan. When you understand the one you are in a position to learn something about the other. I tried to get information from my fellow-traveller.

"Yes, the Japanese are building railways all over the island. What I mean to say is that the companies are started and financed by Japs, and they make 'em pay. I can't quite tell you where the money comes from, but it's all to be found in the country. Japan's neither rich nor poor, but just comfortable. I'm a merchant myself. Can't say that I altogether like the Jap way o' doing business. You can never be certain whether the little beggar means what he says. Give me a Chinaman to deal with. Other men have told you that, have they? You'll find that opinion at most of the treaty ports. But what I will say is, that the Japanese Government is about as enterprising a Government as you could wish, and a good one to have dealings with. When Japan has finished reconstructing herself on the new lines, she'll be quite a respectable little Power. See if she isn't. Now we are coming into the Hakone mountains. Watch the railway. It's rather a curiosity."

We came into the Hakone mountains by way of some Irish scenery, a Scotch trout-stream, a Devonshire combe, and an Indian river running masterless over half a mile of pebbles. This was only the prelude to a set of geological illustrations, including the terraces formed by ancient river-beds, denudation, and half a dozen other ations. I was so busy telling the man from Yokohama lies about the height of the Himalayas that I did not watch things closely, till we got to Yokohama, at eight in the evening, and went to the Grand Hotel, where all the clean and nicely dressed people who were just going in to dinner regarded us with scorn, and men, whom we had met on steamers aforetime, dived into photograph books and pretended not to see us. There's a deal of human nature in a man – got up for dinner – when a woman is watching him – and you look like a brick-layer – even in Yokohama.

The Grand is the Semi or Cottage Grand really, but you had better go there unless a friend tells you of a better. A long course of good luck has spoiled me for even average hotels. They are too fine and large at the Grand, and they don't always live up to their grandeur; unlimited electric bells, but no one in particular to answer 'em; printed menu, but the first comers eat all the nice things, and so forth. None the less there are points about the Grand not to be despised. It is modelled on the American fashion, and is but an open door through which you may catch the first gust from the Pacific slope. Officially, there are twice as many English as Americans in the port. Actually, you hear no languages but French, German, or American in the street. My experience is sadly limited, but the American I have heard up to the present, is a tongue as distinct from English as Patagonian.

A gentleman from Boston was kind enough to tell me something about it. He defended the use of "I guess" as a Shakespearian expression to be found in Richard the Third. I have learned enough never to argue with a Bostonian.

"All right," I said, "I've never heard a real American say 'I guess'; but what about the balance of your extraordinary tongue? Do you mean to say that it has anything in common with ours except the auxiliary verbs, the name of the Creator, and Damn? Listen to the men at the next table."

"They are Westerners," said the man from Boston, as who should say "observe this cassowary." "They are Westerners, and if you want to make a Westerner mad tell him he is not like an Englishman. They think they are like the English. They are awfully thin-skinned in the West. Now in Boston it's different. We don't care what the English people think of us."

The idea of the English people sitting down to think about Boston, while Boston on the other side of the water ostentatiously "didn't care," made me snigger. The man told me stories. He belonged to a Republic. That was why every man of his acquaintance belonged either "to one of the first families in Boston" or else "was of good Salem stock, and his fathers had come over in the Mayflower." I felt as though I were moving in the midst of a novel. Fancy having to explain to the casual stranger the blood and breeding of the hero of every anecdote. I wonder whether many people in Boston are like my friend with the Salem families. I am going there to see.

"There's no romance in America – it's all hard, business facts," said a man from the Pacific slope, after I had expressed my opinion about some rather curious murder cases which might have been called miscarriages of justice. Ten minutes later, I heard him say slowly, apropos of a game called "Round the Horn" (this is a bad game. Don't play it with a stranger.) "Well, it's a good thing for this game that Omaha came up. Dice were invented in Omaha, and the man who invented 'em he made a colossal fortune."

I said nothing. I began to feel faint. The man must have noticed it. "Six-and-twenty years ago, Omaha came up," he repeated, looking me in the eye, "and the number of dice that have been made in Omaha since that time is incalculable."

"There is no romance in America," I moaned like a stricken ring-dove, in the Professor's ear. "Nothing but hard business facts, and the first families of Boston, Massachusetts, invented dice at Omaha when it first came up, twenty-six years ago, and that's the solid truth. What am I to do with a people like this?"

"Are you describing Japan or America? For goodness' sake, stick to one or the other," said the Professor.

"It wasn't my fault. There's a bit of America in the bar-room, and on my word it's rather more interesting than Japan. Let's go across to 'Frisco and hear some more lies."

"Let's go and look at photographs, and refrain from mixing our countries or our drinks."

By the way, wherever you go in the Further East be humble to the white trader. Recollect that you are only a poor beast of a buyer with a few dirty dollars in your pockets, and you can't expect a man to demean himself by taking them. And observe humility not only in the shops, but elsewhere. I was anxious to know how I should cross the Pacific to 'Frisco, and very foolishly went to an office where they might, under certain circumstances, be supposed to attend to these things. But no anxiety troubled the sprightly soul who happened to be in the office-chair. "There's heaps of time for finding out later on," he said, "and anyhow, I'm going to the races this afternoon. Come later on." I put my head in the spittoon, and crawled out under the door.