24: October 24th, 1917 Omura: Pearl Buttons

The writer hitherto merely a peripatetic pilgrim, henceforth must be regarded as a mandarin, as on this auspicious day he was invested with a button - a gross of 'em, to be precise. This interesting ceremony occurred in the course of a visit to the factory of the Nagasaki Ki Botan Kwaisha, where so many thousands of buttons were seen, made and in the making, that it was forcibly borne upon him that buttons, like pins and dead donkeys, must be included in the list of unsolved mysterious disappearances.

After a short rickshaw ride from the hotel, the Pilgrim arrived at the gate of the factory, which is located in a number of one and two storeyed buildings, a busy hive, from whence the hum of machinery issued. From the gateway to the office, piles of shells, each riddled with perforations were observed, each perforation signifying that the missing disc now figures somewhere, or upon someone, as the common but absolutely essential button.

Arriving at the office, thanks to the introduction provided by the Japan Tourist Bureau, although the Manager and his staff were obviously extremely busy, the writer was welcomed and after a few minutes conversation, permission to inspect the plant was accorded and a member of the office staff told off to act as Cicerone to the visiting “Horrander San” whose advent, apparently, occasioned a partial cessation of work and excited much comment, among the bevy of charming young ladies in an adjoining room, who were supposed to be diligently at work, sewing the finished buttons upon the cards, backed with tinsel which are familiar to commerce.

It must be stated, with regret, that notwithstanding the ascetic mien and extremely “proper” appearance of the Pilgrim, several of these damsels proved themselves adepts in the gentle art of “making eyes”; but he escaped from the barrage of this dangerous battery and proceeded to the workshops.

The shells, it was learned with surprise, come from Hankow! Shipments also arrive from Tientsin and the shell is considerably larger than that of the Omura oyster. After being washed and the incrustations removed, the shell is taken into a long, low building in which a number of drilling machines are installed, the motive power being supplied by electricity. Here some forty men drill the discs from the shell, boring the holes as closely together as possible, in order to obtain the greatest possible number from each shell. As each of these men works 12 hours a day and the process of drilling out a disc is commenced and completed in four seconds, statisticians may at their pleasure figure out just how many discs drop through into the basket in the course of a working day.

The perforated shell is conveyed to another department where it is converted into line of an excellent grade while the discs pass to the grinding room, where the edges and that side which formed the outer part of the shell are trimmed up and smoothed off by grinding wheels.

Seated in front of a row of these wheels, a number of girls place the discs, one by one and rough side uppermost, in a groove terminating with a slot, down which they (the discs, not the girls) disappear, to be brought in contact with the revolving wheel. The writer stood watching the nimble fingers of one of these girls - 90 discs a minute being the average so dealt with. Feeding the insatiable maw of this machine for twelve hours per day, Sundays included, must indeed, be a terribly monotonous occupation and all for a wage of thirty sen a day!

From this machine, the roughly polished discs pass to the countersink drills. Expert work this, seemingly, as the operators are all of the sterner sex, some, the most proficient, being in receipt of “high wages” – as much as one whole yen a day being earned! At this machine is drilled the little countersunk depression seen on the front of the button, also the rims and edges of the more ornamental types, the countersinking, rims etc., being executed at one operation, according to the shape of the “bit” used in the machine.

The potential pearl button now passes upstairs to another department where the holes are pierced, four, two or one hole, as in the case of buttons with a shank, in which the thread is not seen. On a number of tables are installed a number of horizontal drills, operated by foot power, the operator seated in front of each machine with her feet on the treadles. In the case of two, or four holed buttons, the drills are arranged in pairs, or quartettes, all the holes being pierced simultaneously, the time so occupied being five seconds for each button. Fitting the disc into a slot, the operatress, by means of the “feed,” brought it in contact with the drill-points; a slight pressure and the holes were pierced, the button falls through into a receptacle and the slot is in position again to receive another disc, and so the work go on.

The single hold buttons are drilled by younger girls at an adjacent bench several of whom, judging by their youthful appearance, appearing to have successfully evaded the notice of the School Attendance Officer, if there be such a functionary at Omura!

Despite their long hours and the monotonous nature of their occupation, they all seemed to be happy and, it may be remarked, that there was no notice indicating that a strict silence be maintained. Possibly, the knowledge of having a job, however monotonous or ill paid, was a source of jubilation, as even in flourishing and prosperous Japan, “the high and increased cost of living” is no mere newspaper or magazines phrase.

The buttons pass next to the boiling room, where they are boiled in large vats with “Okusuri” (medicine), the conductor described it but probably a strong alkaline solution, after which they are poured into wooden, churn-shaped tubs, revolving, open head upwards, on an inclined axis, the thousands of buttons polishing one another by the mutual abrasion. The next process is the final, dry polish which they obtain in huge, revolving wooden drums, from whence they pass, each a fit and proper button, to a large, airy room adjoining the office, where, as previously described, they are sewn upon cards and racked for export. Large godowns and storerooms indicate the extent of the output, which averages some 800 gross per diem.

After being presented with a sample of the work produced, the Pilgrim expressed his appreciation of the kindness and attention of which he had been the recipient, in the course of which, happing to make use of the popular “Ai do-an-no-te,” considerable giggling resulted in the sewing department and not wishing to further clog the wheels of industry, he took his departure and returned to Kambutsu-ya.

As there was still some considerable time to elapse previous to the departure of the train, on arrival at the hotel the further services of the ricksha man were dispensed with. The usual “hold up” ensued. When, in response to the enquiry “how much?” a figure was named which seemed rather stiff the enquiry was repeated, with emphasis on the “how,” so to speak. Same result. Thinking possibly a little sarcasm would facilitate matters, the Pilgrim, closing with the deal, replied, “All right, dekimasu. Can do. Bring it inside, I'll buy it.”

Followed profuse explanation to the effect that the sum mentioned was the fare only and did not include the purchase of the vehicle and it necessitated the combined efforts of Kurumaya-san, Okamisan, and her staff to bring the truth home to the foreign stranger. The usual result. “Another Successful Hold-up” par. for the newspapers. While removing his boots previous to entering, the Pilgrim discoursed feelingly upon the iniquities of Kurumaya-san and explained what a joyful land China was in this respect.

This removal of one's boots, previous to entering a Japanese hotel, has its advantages (from mine host's point of view). The boots being kept in a cabinet downstairs in full view of the office, serve as a check upon the guest's activities; hence, the joyous practice known as “shooting the moon,” which is achieved by sliding down a convenient rain pipe, is unknown in this land. The act of removal also has its disadvantages, as during this operation the unwary guest is apt to “be caught bending,” so to speak.

23B insert: October 24th, 1917 Nagasaki: O Suwa Matsuri description

The Osuwa Matsuri - a famous festival three centuries old

Nagasaki's Great Annual Shinto Festival

The chief religious festival of the year in Nagasaki is that in honor of the “Kami” or what foreigners call the “Suwa Temple,” the principal Shinto shrine in the city. It is celebrated annually on the 7th, 8th and 9th of October.

The essential motive of the celebration is that common to the festivals of most large shrines devoted to the national religion, that is to say the patron deities are removed for a period to a temporary shrine specially erected for the occasion. Although the services and ceremonies connected with this festival extend over the first 13 days of the month it is only the proceedings upon the three days mentioned that attract much attention from the general public. On the first of these three days the symbols representing the deities journey in “Mikoshi” or sacred cars to their temporary quarters, remaining until the 9th when they return to the main shrine. On the 8th the Governor of the Prefecture pays a ceremonial visit to the temporary shrine and presents the customary offerings.

Originally designed as an offering to the deities, which does in fact remain their chief object, the festivals have, during the 285 years which have elapsed since they were first performed, developed into an entertainment constituting the yearly outing of thousands living in the neighborhood.

Anti-Christian Survivals

Circumstances have contributed to the association with this festival of a number of interesting old customs. Not long before the middle of the seventeenth century Christianity was rapidly spreading its influence in this district and the Shogunate was endeavoring to combat the tendency. The shrine was erected as a means to this end, and bearing this fact in mind it is not surprising to find that some of the customs still surviving were frankly anti-Christian. Though their original object has long ceased to exist they are carefully maintained and the historical traditions associated with them now offer as much interest to the foreign as to the Japanese spectator.

A favorite excursion for passengers on many liners which call at Nagasaki for a few hours is the Suwa shrine. (Although this name is the only one in regular use there are two other shrines adjoining, the Sumiyoshi and Morisaki Jinja, and this circumstance accounts for the presence of three palanquins in the sacred procession.) The bronze horses in the grounds attract attention, but the charming situation of the main buildings at the head of a long flight of steps, and the splendid view to be obtained, looking over the town down the beautiful harbor, are what repay one for the trip. However, unless one arrives on the scene by four a.m. on the morning of October 7 there is little chance of seeing much except a dense throng of spectators assembled in anticipation of the first dance.

Business and Pleasure

Religious festivals of themselves are not usually of a nature to excite more than casual curiosity among foreigners. What does provide more diverting entertainment is the preparations of the townspeople to celebrate the holiday, and, it must not be forgotten, to produce attractions which will draw visitors from the neighborhood, and then induce them to purchase anything from a pair of chopsticks to a winter outfit from the handsome array of goods displayed in the shopping centres.

The city of Nagasaki is divided into eighty “cho” or wards, and each year eleven or twelve of them are selected in turn to provide entertainment for the great festival - and to share the spoils. Those chosen are known as “odori-cho,” as of course a good deal of the entertainment consists of dancing.

The preparations commence on the first day of the month with a general cleaning up, after which the decorations are taken in hand. The “odori-cho” are embellished with drapings of blue and white cloth, stamped with a family crest, the streets are lined with rows of lanterns on tall standards, each provided with its own umbrella as a safeguard against inclement weather, and slender bamboo poles with the foliage still adhering to the upper branches are placed vertically at intervals of a foot or two along the fronts of the shops and houses. These upright poles are made secure by fastening the lower ends to others laid lengthwise along the ground. This style of decoration is very effective, and it had originally the additional merit of providing a convenient supply of weapons, as the poles were sharpened at the lower end in readiness to dispose of any Christian who might show indication to disturb the harmony of the proceedings.

Elaborate Preparations

The shops rise to the occasion splendidly. In addition to a new stock of autumn and winter goods the costumes to be worn by the dancing girls, and the miniature generals and admirals who man the “dreadnought” float, are displayed in their respective wards. The place of honor is given to the symbols and draping of the “kasaboko,” after which perhaps the most striking objects are highly colored reproductions in sugar of various subjects. The good priest Hotei with his rotund figure and merry face ranks first, but the “tai” in appropriate though scarcely lifelike surroundings is a good second.

Meanwhile the “odori-cho” have commenced in earnest the final rehearsals of the various dances, plays, etc., which will constitute their tribute to the “kami” and amuse the multitude on the three official days of the festival. At the beginning of June, on the occasion of a minor “koyairi” festival, delegates from the wards concerned had paid a visit to the shrine and undergone a ceremonial purification. Upon their return the participants in the dances were selected, and rehearsals taken in hand, continuing throughout the summer. Those chosen represent a strange medley of social grades but the intervals which elapse between the turns of the joint programme of the twelve wards at the various dancing places obviate the necessity of personal contact between the geisha representing one of the gay quarters and the daughters of prosperous citizens on whose behalf considerable premiums have been paid to score leading parts. Every evening from the third the streets are patrolled by something resembling the English fife and drum bands, though the tone of the “fue” used is shriller than that of their British counterpart, and a third instrument in the shape of a cymbal is introduced. The drum too differs in shape; the kind seen here is carried on the back of a small boy while his elder brother walks behind him and beats it. These bands also are peculiar to Nagasaki, and the presence of the “shagiri” or cymbal leads one to suspect a Chinese origin. Though the actual dances are accompanied on the samisen the regular music to which the floats make their rounds is provided by these bands.

A Pretty Scene

On the evening of October 3 the spectacle provided is that known as “niwa mise” or the showing of gardens. In effect what takes place is that the “shoji” in the front of the house and the “fusama” of the rooms intervening between them and the garden at the rear are removed so that one can see from the street into the garden. The object of this unique custom was to prove that the privacy of the garden did not contain anything in the nature of emblems of Christian worship, and as farther evidence shrines in honor of Inari, the patron deity of rice – the colloquial fox temple - are to be seen in many instances. Occasion is taken of the survival to present a very pretty scene. The interior of the house thus thrown open is decorated with screens, potted plants and dwarf trees placed on hardwood, while rows of candles in tall stands provide the necessary illumination. The garden itself is lit up from above, and the spectacle thus arranged is quite charming.

On the 7th rejoicings are widespread and clamorous. The initial ceremony consists of the transfer of the symbolic representations of the deities into their palanquins, and takes place at 3 a.m. Three hours later the floats from the twelve dancing wards begin their rounds. Each party consists of the following, arranged in the order indicated:

Lantern inscribed with the name of the ward, mounted on a long pole; “kasaboko”; dancing girls; the actual float; band; headman of ward; assistants; parents and relative of participants.

The “Kasaboko”

There are five recognised dancing places which are visited in turn, commencing with that at the Suwa shrine. When an exhibition has been given at each of these places the performers are at liberty to turn their energies to whatever part of the city meets their fancy. There is naturally great competition to provide the choicest entertainment, but what arouses most enthusiasm is the “kasaboko.” The term “umbrella-lance” may mean little to the reader, nor would he detect much resemblance to a lance in the appearance of the article itself. Although this weapon figures prominently in other festivals such as the “Gion Matsuri” at Kyoto, the form into which it has developed here is not to be found elsewhere in the country. It consists of a central pole about seven feet high passing through the centre of a round platform upon which is placed a design having some local signification or connection, as for instance two clams (hamaguri) for Hama-no-machi or Daikoku's mallet for Daikoku-machi. From the edge of the platform is suspended a draping of silk embroidery. Underneath the draping the pole has a crosspiece to rest on the shoulder of the man carrying it, with another crosspiece lower down for his hand to grasp, while the extremity is weighted with a string of cash as a counterpoise. One man carries the whole concern, and leads the procession from each ward. On reaching any of the dancing places he advances first to introduce his district, and then gives the “kasaboko” a series of twirls which must call for the exercise of no mean strength and agility, as the weight is very considerable, the draping prevents him from seeing for more than a few inches beyond his own feet, and he has to rely for his sense of direction upon one of his supporters walking immediately in front of him.

Dances and Plays

The other performers then give their turn. These do not vary greatly from year to year; in 1918 the twelve wards gave us a program consisting of five dances, three dramatic performances, and four models of boats, warships, etc. The lastnamed class consisted of reproductions of ornamental river boats or similar craft adhering faithfully to the main features of the originals, mounted on wheels for convenience in promenading the city as well as for manoeuvring at each of the dancing places. At the prow of each of these wheeled vessels a child of not more than three or four years was seated on a pile of gorgeous cushions. It is said that the privilege of occupying this seat of honor was unobtainable under a payment of four or five hundred yen.

During the remainder of the 7th and the 8th a comprehensive tour of the whole city is made. This must call for no little endurance on the part of those engaged. The “kasaboko” and “dashi” with their attendants start not later than 10 a.m. on the 8th in spite of their exertions on the previous day, and at 10 p.m. some of the floats had not given up. Meanwhile everyone is busy making the most of the general holiday. At the temporary shrine a stream of visitors continues until quite late at night, and the guardians of the shrine must reap a weighty harvest from the shower of coppers thrown by the devout. Enthusiasm is maintained by frequent beating of the sacred drums, alternating with dances given by youthful acolytes with their “kagura suzu.” From time to time a party of performers or attendants from one of the dancing wards appears upon the scene, or one of the bands of musicians hurries up; after a suitable exhibition has been given the participants are regaled with a cup of sake by one of the priests and off they go again.

The Side-Shows

There is no lack of more mundane diversion for the sightseers. In an open space on Deshima, the site of the old Dutch factories, are rows of side-shows, including even a circus with a score of trained horses which perform conventional feats under the guidance of ladies in tights - made of wool. Some of these entertainments may be rather gruesome but after all no one is compelled to pay the trifling sums charged for admission. Another feature invariably in evidence on these occasions is a long line of stalls, selling sweetmeats, toys, charms, almost anything in fact calculated to draw the coppers of a children-loving throng.

The 9th is the final day of rejoicing. The floats make another round of the dancing-places reversing both the order in which they visited them on the 7th and the order of their own procession, except that the leading ward is still that of the two gay quartets which is acting for the year. At one o'clock the divine symbols start on their return journey. The procession consists is the first place of the three “mikoshi” one for each of the three shrines, followed by three chief priests in imposing Shinto garb, riding on horseback. Even now the procession is said to deviate from the direct route at one spot from which an attack was made years ago by Portuguese traders. Incredible as such a survival may seem, it is thoroughly consistent with the strict adherence to ancient customs evident throughout the festival. On arrival at O Suwa the “mikoshi” are rushed up the steep steps amidst the wildest enthusiasm, which has not seldom resulted in accidents to those assisting.

(special article by J.A.)

The Legend of Ama-terasu, the Sun Godess.

After a violent quarrel with her brother, Susa-no-o, the Moon God, Ama-terasu, the Sun Godess, retired to a cavern, withdrawing the light of her presence from the world and the Heavens and plunging them into darkness.

The Moon God, jealous of his sister, broke a hole in the roof of Heaven and cast down among Ama-terasu and her maidens, who sat spinning sunbeams, “a piebald horse which he had flayed with a backward flaying” (from the tail to the head). This deadly insult so incensed the godess that she withdrew as above mentioned.

The remainder of the eight hundred deities, desiring light, made many ineffectual attempts to induce her to return and lighten up the world again. After many attempts, one of the Gods hit upon a device which proved successful.

“They gathered the cocks of the barnyard fowl and made them crow” as if to announce sunrise and on a bough of the sakaki tree, they hung a large metal mirror around which was strung a necklace of beautiful jewels. Word was conveyed to the Godess that another and more beautiful woman had been discovered and that light having come to the world again, she could remain in the cavern if she so wished.

“Then they caused the rituals to be recited and a dance performed outside the cavern and at a signal, all the assembled deities laughed aloud.” Astonished at the tumilt, the Godess peeped out and saw her own reflection in the mirror. Stirred by curiosity and pique, she advanced for a closer inspection of her supposed rival, when the opening of the cave was closed behind her, thus preventing her return.

Every New Year, each Japanese house or temple commemorates this event by suspending a small straw rope with tassels and paper gohei across the lintel of the door.

(article by Sam.)

23: October 24th, 1917: At Kambutsa-Ya

The Pilgrim pearl-purchaser, not unduly weighed down with his load of gems, put up at the above inn and on interviewing Okamisan and enumerating various Japanese dishes which he did not like, was agreeably surprised to learn that “biffu tic” could be had, also pan (bread). With regard to another alleged foreign item on the bill of fare, the name sounded so much like a suppressed inclination to sneeze that the writer gave up guessing, upon which one of the servants produced a bottle of near-Lee & Perrin’s which solved the mystery.

Making out the bill

 Further evidence of Omura’s aspirations to be considered up-to-date was the prevalence of a song, which is very popular at present in Nagasaki and the large towns. One hears it everywhere. Sung in Japanese, each verse of this popular ditty ends with the words “I don't know” (in English), the popular rendition of which being “Ahi doo-ante know te,” with accent on the final “te.” So popular is this ditty, indeed, that once one has broken through the barrier of polite reserve, instead of receiving a “search me” or shirimasen in reply to a query, one frequently gets this last line, accompanied by a laugh and its occasional use greatly facilitates progression from stiff, formal politeness to easy, friendly and familiar conversation.

"Ahi doo-ante know te"

As for the theme of the ditty itself - Well, “Ahi doo an-te know te.” It may be fit for “Choirs and places where they sing,” or for use at Sunday Schools and again, on the other hand, it may not. Occidental and Japanese ideas differ some what upon what is fitting and seemly and the apparently innocuous chant with which yon urchin is beguiling his way, if reproduced at Kuling, might clear a Landrenters Meeting with more celerity than the sound of a dog-fight outside.

On being shown to his room, the writer, wishing to create a favourable impression as to his social status, showed his “quality” by desiring that the Katana-kake be brought immediately. This is the small rack, sometimes elaborately carved and ornamented, never seen nowadays, upon which the samurai of byegone days hung his sword - at his side and ever within his reach.

This request, equivalent to ordering a bootjack and warming pan, was considered a huge joke and one of the nesans disappeared, returning after a few moments with a katana-kake, which she placed in position with all due ceremony, with apologies for its previous absence. Not to be outdone, the Pilgrim gravely placed hip penknife and travellers’ corkscrew on the brackets, upon which in days gone by, the “soul of a samurai” has oft rested and then sat down awaiting the advent of dinner.

But Alas for fine promises! Omura, it transpired, had completely run out of bread. This defficiency, however, was made up by a supply of Japanese biscuits supplemented by a number of thick slices of kasutera; that toothsome edible which we know as sponge cake and upon which, with liquid refreshment, the stranded traveller can satisfy the most insistent cravings of the inner man. Just try it gentle, and it may be doubting, reader. The prescription is - take three of four slices of kasutera, followed by a long drink (for acute cases aerated waters are recommended) and if within five minutes you are not in a similar condition to the Yangtsepoo tramcar on wet day - chock-full inside, with no broken stowage - then there is an Oliver Twistiness about you(r) internal economy that is both remarkable and interesting.

Vegetables a-plenty, but bread "no have got" - a Breadless Day at Omura

22: October 24th 1917, Omura Pearl Culture

Pearl Culture

Head Office and Factory at Omura

At the Company's offices and show-rooms, the writer was welcomed by the local Manager and several members of the staff who spoke English.

Ise Pearlers

Kaihasami (scissor tongs)

Nagaura Branch Factory

It was regretfully explained that, it not being the fishing season, actual working conditions, with the various stages of the industry (the labratory and workshops, which contain business secrets being excepted) could not be seen. Advised by the Tourist Bureau, however, a number of oysters had been fished up in readiness and these were inspected, opened and but with one exception, were found to contain no pearls.

Omura Wan

Unlike the large shell seen at Thursday Island, the Omura oyster measures but from four to six inches across, thus the local “shell” is not the valuable marketable commodity similar to that procured in southern waters.

An adjournment was made to another room containing a large glass tank in which, on the rocky bottom, one saw a number of oysters in their natural environment. One such, a small one, young and possibly indiscreet, seemingly was afflicated with wanderlust, as it had travelled from its rocky bed towards the surface of the water to a place on the glass, to which it adhered.

The fishing season opens in November and continues until April and from a number of interesting photographs, together with the explanation supplied by the Manager and his staff, the procedure is somewhat as follows :—The divers proceed to the fishing grounds which lie in from 3 to 7 fathoms, in sampans. For the lesser depths no diving suit is used, the naked diver, descends armed with his kai-asami, (tong-scissors) with which he detaches the oyster from the rocky bottom, places same in his basket and then returns to the surface. For the deeper waters a regular diving suit and air pump is necessary.

Pearl Fishers 

Unlike the South Sea pearl fishing, here there is no disagreeable process of “rotting out.” Any one who has passed to leeward of a pile of oysters rotting out on a tropical beach, under a torrid sun, is hardly likely to forget the experience.

Gathering Pearl Oysters at Omura

At Omura, the oysters are opened immediately on being brought ashore, the pearls extracted and the fish shipped to the market - whether for food or for fertiliser was not ascertained. The shell is locally converted into buttons and lime, a very fine grade of the latter being produced. The pearls, of which there are two kinds, the natural and that produced by culture, (the latter being of the type known as a “blister” among south sea pearlers), are taken to the selecting room where they are sorted out, the cultured pearls being taken to the adjoining work-shop from which later they are returned to the inspectiong room, for classification.

On the Beach at Omura Wan

In a number of glass-topped show cases, a fine collection of jewelry is exhibited, pins, rings, bangles &c., set with both natural and cultured pearls, the difference between the two classes of pearls is indistinguishable to the eye of the inexpert. From a number of small boxes, each containing a number of unset pearls of varied hues and sizes, a modest selection is made and with the usual exchange of compliments the Pilgrim bade farewell to the courteous manager and his staff and set out to attend to the wants of the inner man.

21: October 24th, 1917: Omura

This place, formerly a castle town, is now an important garrison town and the extensive grounds which encircled the old castle have been laid out as a Public Garden the work being carried out by landscape gardeners, seemingly, of no mean ability. The offices and plant of the pearl culture company are situated at the water's edge some 20 minutes by ricksha from the railway station.

The Company, apparently, are staunch believers in the efficicacy of frequent and continuous advertising, as throughout the route from the station, at every cross-road or possible wrong turning, a large notice board appears intimating that “this road leads to the Pearl Company,” a direction pointing arrow further obviating any possibility of the visitor making a mistake and, in place of ultimately inspecting a most interesting exhibition of molluses and their products, finding himself deposited in a region the prominent characteristics of which are samisen, and sing-song, with general hilarity.

Instances, indeed, are not entirely unknown where the ricksha-man has erroneously “sized up” his fare and directed his course accordingly, with the above related deplorable result, but with such an austere personality as the Pilgrim, about whom such an obvious odour of sanctity prevails, needless to remark, the making of any such mistake is utterly out of the question.

Ryokan at Kotse

After passing through the town, the road lies through the Ko-en, or Public Garden previously referred to, passing by or under numerous torii and along an avenue of cherry trees flanked by a long and sinuous lotus pond. These trees, now gaunt and leafless, are a blaze of colour in the spring and attract numbers of the townsfolk, who indulge in all-day picnics in the park, admiring the blossoms, the literati expressing their admiration by inditing poems, which they affix to the blossom-laden branches.

Omura Ko-en - cherry trees and lotus ponds

The lotus, also, was not in flower but on each great leaf a rain drop glitters like a jewel in the transient sunbeams. On, past quaint and pretty suburban residences, each with its small orchard the boughs weighed down with the ripening fruit, mikan, nashi or kaki being the most apparent, until at length the ricksha-man pulls up at the gate of the S.K.K. plant.

A brief account of this flourishing industry may be appropriate. The Omura-wan Shinju Kabushiki Kwaisha, to give it its official title (Omura Bay Pearl Coy,. Ltd.) was organized as a joint-stock concern in 1913, the company incorporating the many existing small, private enterprises and carrying on the industry at Omura, with branch factories at Nagaura, Kikitsu and Sozu. For many years the pearls produced in the Gulf have been celebrated for their lustre and, while not so large as the Thursday Island product, they are in great and increasing demand, in the Home and Foreign markets. The area of the fishing ground is about 23,200 acres, from which over 200,000,000 pearl oysters are procured annually.

Given ordinary luck and the absence of the dreaded Akashi-wo or Red current, to which, however, unlike the Bay of Ise, the Omura Gulf is not particularly liable, the promoters and shareholders may congratulate themselves upon being associated in a flourishing industry. The Red Current appears to be due to the presence of infusoria, which at certain seasons appear in such quantities as to give the water a blood-red appearance. It is understood to be inimical to molluses, the pearl oyster in particular, and its appearance synchronises with many dead fish and consequent financial loss. In addition to the natural pearls gathered from the beds, the Company, as the result of extensive scientific investigation, have succeeded in increasing the annual output by their perfected method of pearl culture.

20: October 24th, 1917 Omura: Omura Pearls

Thinking that a visit to the culture plant of the Omura-wan Pearl Company would prove interesting and inspire bygone Thursday Island reminiscences, preparations for the trip were made accordingly, the same being greatly facilitated by the advice and assistance courteously rendered by the Japan Tourist Bureau, which provided the necessary introductions, arranged the itinerary and also issued the railway tickets.

En passant, it may be remarked that the J. T. B., organised and controlled by Government sorely for the convenience of travellers and tourists, is an excellent institution and the mono-lingual alien, on applying at any of its branch offices will receive every assistance from its courteous staff of English speaking employees towards making any tour a pleasant one. In addition to supplying information respecting the train service, the Bureau will arrange itineraries with an estimate of the expenditure involved and if necessary, will issue letters of introduction - all free, gratis and for nothing.

In its issuance of railway tickets alone, the Bureau is a great convenience as these tickets, unlike the regular ones issued at the railway station, are good for 90 days, with the further privilege of as many “stops over” at intermediate points as the holder may desire.

Provided with such a ticket, to Omura then by the 7.40 train. In passing the barrier leading to the platform, the Pilgrim appeared to be regarded as a “distinguished personage,” the J. T. B. blue paper he exhibited at the barrier being somewhat of a mystery to the ordinary ticket holders, hence the remarks overheard, as to his probable identity, destination and mission were amusing, if inaccurate.

The route to Isahaya has previously been described but one never tires of the pretty silvan scenery and the incidentalae of rural life observed are always interesting. The shooting season is evidently open as in the fields one frequently observes sportsmen with dog and gun. No game is visible, even policemen or politicians being conspicuous by their absence, so what there is to shoot is a matter for conjecture. In the rick-yards farm hands are busy, threshing out the rice, repairing the thatch or at other farm work, while from odd corners small bonfires with much smoke indicate the burning of woods or farm refuse. The rice fields appear as bare brown patches, in which the short stubble, in regular ordered rows shows where the crop has been harvested.

The weather, which on setting out had been dull and overcast, now seems to have developed into a contest for the survival of the fittest - sunshine v. rain. The Pilgrim lays odds on the latter, in the hopes that his usual lottery-luck prevails and that he will lose out.

But now the panting of the engine and decreasing speed indicates the ascent of the steep gradient which precedes the first of the seven tunnels between Nagasaki and Omura. The electric lamps light up, there is a hurried closing of the car windows and with a roar, we enter the first and longest tunnel.

As nothing is to be seen outside, the Pilgrim turns round and takes stock of his travelling companions. The latter are few in number and consist mainly of the - one can hardly term them the “fairer” sex, so compromise matters by styling them the O-shiroi-ed ditto and letting it go at that. O-shiroi, it may be well to explain to the uninitiated, is an adjunct to milady's toilette table; a complexion cream, the medium wherewith dazzling complexions, varying from a warm cream-like pallor to a chalk white incrustation are “built up.”

O-Shiroi

As usual, there is the lady whom railway travelling upsets, curled up on the seat, handkerchief pressed firmly to her nose and drooping like a wilted lily. The puckered brows and the handkerchief give rise to an interesting speculation. Is the evolution of the many retrousse noses one observes due to excessive railway travelling, superimposed upon the effects consequent upon being strapped to Mamma’s back in infancy, when every step Mamma takes in her clumsy but cheap and durable geta, is punctuated by the bobbing of baby's head, and the abrupt contact between its nose and Mamma’s shoulders? It is an interesting question, somewhat too profound for the Pilgrim who leaves it to ethnologists to solve.

A family party with friends and a huge number of bundles, packages and umbrellas, which are constantly falling down and being replaced. From their conversation, the party is travelling to Obama, under the chaperonage of an elderly lady who possesses a sharp tongue and apparently a profound contempt, for Oshiroi, elaborate hairdressing, or other feminine fripperies and adornments. Keeping a sharp eye on her charges who are seated, all so very proper and demure, Obasan, in the intervals of having a whiff at her pipe, calls attention to some detail of apparel or deportment apparently not exactly “just so”, that is quite invisible to the eye of a man.

In the corner seat, fond Mamma, with H. R. H. the Baby, the latter a centre of a clique of admiring ladies. H. R. H. is evidently of a fighting breed which holds in profound contempt, the “Rules,” as laid down by a late Marquis of immortal, if immoral, memory. A very fair attempt at gouging was evaded by an admirer, who retained sufficient equanimity to gurgle the Japanese equivalent for “My! But ain’t he just too cute for anything!”

Out again, into the blessed daylight clear of the smoke and fumes of sulphurous coal. On the left is the beautiful terraced valley at the head of the Gulf of Omura with the waters of the gulf itself in the near distance, ever beautiful even under this sullen sky. Until the railway branches off at Haiki, the track skirts the winding shore line of the gulf, amid scenery which is, perhaps, the most picturesque between Nagasaki and Tosu.

Shikano-shima, Omura-wan

19B: October 10th, 1917 Nagasaki: O Suwa Matsuri (continued)

The Big Torii of Suwa Shrine, Nagasaki

Well

Osuwa Koen (park)

Having left strict instructions for an early call, the Pilgrim was persuaded to rise somewhere about 4 a.m., the simple expedient adopted being the attachment of a small rope by means of which all the bed clothes were whisked off him. The morn being sharp, a lack of covering prompted an immediate rising, so behold him setting out at cockcrow for the Shrine of O Suwa.

Although it was quite dark, many other early birds were about, some bound in the same direction, while others were busied putting the final, finishing touches to the decorations and hanging out the national flag. No ricksha being available, a good, sharp walk assisted in dispelling the chill of early morn and the desire for more sleep.

A pearly light, peeping over the mountains to the eastward, betokened the advent of dawn, the changing lights mingling with the faint haze rising from the town producing a pretty, artistic effect. A ricksha was obtained in due course, enabling the remander of the journey to be completed in comfort.

Early as it was, the grand stand was well occupied, a fact which made the Pilgrim congratulate himself upon his early start. People were arriving in droves and it was evident that ere long progress would be difficult, if not impossible.

Deposited safely at the foot of the great bronze torii, - the gift of the Mitsui family to the temple - the usual “blarney” with kurumaya san began. But how different the discussion, re the amount of the fare, to that prevalent at Hankow, or in the primeval forests of Hongkew. Instead of grabbing his fare by the arm and raising a howl to the Heavens, this polite Claude Duval merely doffs his hat and bows, in response to the enquiry “How much?” He speaks English it appears; Bar room British, to be more correct and replies, canny bird, knowing that his fare is in a hurry to be gone; “I leave that to you.”

The “grand stand” appears to be a somewhat flimsy structure consisting of bamboo poles and straw rope, the seating accommodation provided being planks, covered with a coarse straw matting, upon which small cushions are placed. Bearing in mind the discomforts attendant upon an attempt at sitting, a la Japonaise, upon a small futon some two feet square by two inches thick, the Pilgrim procured a pile of these futons (hire six sen each) and so, arranging a seat more in accordance with Occidental ideas of comfort, sat down to take stock of his surroundings.

Kasaboko

Imakago-machi

Kanjia-machi

All Nagasaki and his wife, his sisters cousins and aunts, arrayed in brilliant holiday garb, seem to be crowding in. What a blaze of colour; what elaborate coiffures, ditto complexions, permanent and due to the application of O-shiroi, poudre de riz and other adjuncts to miladi's toilette table! Also, what a chance for the cinematographer, but beyond an odd stand camera or two the photograpic art is unrepresented.

But now a beating of drums and the music of fifes announces the approach of the first kasaboko. This, by right of precedence is that of the delegation from Maruyama-machi. Round the umbrella-like structure a draping of richly ornamented brocade hangs, encircled at the top by a large circular border of black velvet. On the “roof” appears a handsome cabinet-table, covering a basket of flowers while on the table itself is a circular mirror, nearly three feet in diameter on which the characters Maru Yama Machi are engraved.

Maruyama-machi Kasaboko

Moto-sh'ta-machi

Higashi-naka-machi

Vocifierous and sustained applause greets the advent of this kasaboko, a fact which testifies to the piety and popularity of the machi represented. After the “whirling and salting” previously described is concluded, a dance performed by eight pretty woodcutters follows, to the music of shamisens, drums, pipes etc., provided by the attendant geisha. The costumes defy description at the hand or pen of a mere man, - suffice it to state that in this Odori as throughout the whole proceedings, the national art of blending a riot of gorgeous and bizarre colours into an artistic colour harmony, was attended with the usual successful result.

Bungo-machi

Banzai-machi

Aburaya Machi provided the second “turn” the kasaboko following out the conventional order of construction the ornamental apex being a huge golden star, while the black velvet circular border at the top of the “hammer cloth” was replaced by a length of three-stranded hawser, made of straw and of 25 inches in circumference.

Hoka Oura-machi

Eight geisha contributed several pretty dances in the entertainment which followed. Ladies of some determination these, apparently, as ignoring the demand, “take away that mat” they sat or danced upon a spread of matting, much to their comfort and the protection of their rich and costly kimonos.

It is now 6 30 and the sun is just peeping over the crest of the mountain, casting his beams directly in the faces of the spectators on the western side of the grand stand. Up go a few umbrellas, their appearance being greated by cries of “Sa! sa! kasa!” from the irrepressible element already mentioned. Unable to endure the general “guying,” the “brollies” are soon removed. Late church-goers passing to their places, incline at least one early bird towards the belief that instead of getting the early worm, he is more apt to get it (some one's geta) where the chicken got the axe - in the neck, to be precise.

Shimo Chikugo-machi

Shimo Chikugo Machi's kasaboko exhibited a shooting outfit - a bow and sheaf of arrows, all surmounted by a large stuffed eagle.

Aburaya-machi

Odori

The Odori which followed was of a humorous variety. A procession of instrumentalists, headed by two youths in warrior garb with huge lune-shaped silver insignia on their helmets, was followed by a dragon and some small boy acroboats. The incidental music was truly Chinese, - shrill fifes, gongs and click-sticks predominating. In the performance which followed the dragon took the leading part; creating much amusement, as also did the efforts of some diminutive boy tumblers who had to be frequently assisted to their feet, they being too fat to rise unaided. An entirely unrehearsed effect was provided by the entry of a stray small dog and an apt rendition of the comedy “Dignity and impudence” ensued as the result of Junsa san's endeavours to evict it, without unbending too much in process of so doing.

Shimo Chikugo-machi

Maruyama Odori

Aburaya-machi Odori

Imakago Machi favoured with a representation in a small portable theater of a scene from the popular Japanese drama, “Ishikawa Goyemon” which was accorded a favourable reception.

Imakago-machi

In the entertainment provided by Kanjia Machi, the forward part of a large, practical boat, elaborately carved gilded and painted with red laqueur was employed. This was placed immediately in front of a small pavillion, giving the illusion of a pleasure boat. The dance was performed by the seven gods, Daikoku Sama, Ebisu Sama, Benten and Co., whose attributes are wealth, laughter, abundance etc. The appearel of the gods was a blaze of colour, the sunlight lighting up the gold and bullion embroideries with dazzling effect.

Kanjia-machi

It is now 8.30 and a cinematographer appears and sets up his camera. In the display provided by Nishi Naka Machi, a heavy float on solid wheels, loaded with a juvenile corps of drummers figured. In the course of the proceedings his car was whirled round and round and finally was sent trundling down the long flight of stone steps to the road below, the bumping and lack of springs, not appearing to upset the equanimity or reduce activities of its occupants, as they continued beating their drums unceasingly during this descente rapide.

Nishi Naka-machi

Higashi Naka Machi provided what possibly was the hit of the day, judged by the reception which this exhibition was accorded and the frequency of the demand for encores. After the Kasaboko and the usual procession of geisha had passed to their places, eight diminutive armoured warriors, samurai all, filed in, their gorgeous gold helmets and armour glistening in the sun. The dance performed by these mimic warriors was accompanied by a gentleman who was in exceptionaly good voice and who sang through a megaphone, rendering every word distinctly. As the song was an heroic measure and well known, the refrain was taken up by the crowd in a rousing style. Encore after encore was demanded and cheerfully responded to. A new musical instrument made its appearance in this turn. This was a huge conch, from which a deep and prolonged note issued, reminiscient of a liner's whistle in a fog.

Higashi Naka-machi

Bungo Machi presented a theatrical performance, the argument or details of which the Pilgrim is unfamiliar with.

Bungo-machi

Motosh’ta Machi presented a very pretty series of dances by six geisha whose kimonos were a combination of vivid blue and green with gold splashes. In this dance they bore on carrying poles, cages containing song birds which might be regarded as symbolic of these same human song birds who also live in gilded cages.

Motosh'ta-machi

Hoka Oura Machi presented another theatrical performance in the course of which, it seemed that one poor mortal was beset by two immortals one of the latter, a lady, emerging from a tree.

Hoka Oura-machi

(Miss Tatsuki Matsuo's fine performance)

The part of the sorely beset mortal was taken by Miss Tatsuki Matsuo, daughter of one of the residents in the machi. Miss Matsuo is a young lady of high dramatic ability, the possessor of a clear, vibrant and well modulated voice and a charming personality.

Towards the finale of the piece, the absorbed tension of the audience was apparent and in the climax, when with clear, ringing notes of defiance, she raised aloft a huge battle-axe, a furore of enthusiastic applause resulted.

Banzai Machi completed this series of interesting performances with a theatrical representation of the dance outside the cavern wherein the Sun Goddess has retired, leaving the world in darkness.

Banzai-machi

The Descent of O Suwa

Views of the Descent of O-Suwa Sama

It is now 11.10 and the Odori (plural unknown) being finished, many people are departing, not caring to wait for the descent of O Suwa Sama, which is not due until 1.00 p.m.

In former years serious accidents have accompanied this descent, as the gilded palanquins, borne upon the backs of many carriers, take the flights of stone steps at a run. Thus the appearance of a Red Cross flag floating over a temporary emergency hospital was readily explainable. However, today the procession takes the upper - the longest and most steep flight - slowly, the rush taking place at the lower flights, thus this year no accidents were reported.

Temporary Shrine at Ohata

In the descent, the order was at follows : -

Youthful retainers of the temple bearing banners. Priests ditto also with the vessels of the sanctuary and the offertory boxes, - large wood coffers with latticed tops.

Next, a fully caprisoned charge was led down the steps; some sure footed nag this who evidently recognised his importance for the day by the manner in which he proudly arched his neck.

Carriers bearing trees, foliage and emblems followed and then the temple drum, a huge ancient looking concern with a diaiayo crest emblazoned there on. The rear was brought up a number of priests in their vestments, with the Abbot and his immediate subordinate officers, all under crimson umbrellas. After a short interval, three distinct booms on the temple gong were heard and then down the steps came three very old, heavily gilded chairs the curtains of which were closely drawn - it was O Suwa Sama en route to Ohata. More priests with red umbrellas completed the procession.

Views of the Procession to Ohata

Handsful of coins were thrown by the multitude and it is understood that this money lying about the steps and in the street is collected and lodged in the coffers, no one apparently being so mean as to retain any for his own use however great his need.